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		<summary type="html">&lt;p&gt;Wu Xinxin: /* History and Development */&lt;/p&gt;
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&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
[[File: tai chi.jpg|200px|thumb|left|tai chi(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fphoto.orsoon.com%2F171219%2FPeople_practicing_thai_chi_in_park%2F8C5V3q1noW.jpg&amp;amp;refer=http%3A%2F%2Fphoto.orsoon.com&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626366719&amp;amp;t=e2d77d483f75db985b883cbd040b0fe8)]]&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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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)&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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Generally speaking, this style was created by Chen Wangting (1580 - 1660) who combined the ideology of Chinese traditional Yin and Yang with his ancestral Long Fist (Changquan) to create a new 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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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Yang Style was created by Yang Luchan (1800 - 1873) who loved learning martial arts in his childhood. He learned Tai Chi from Chen Changxing and cultivated his own style which was divided into Small Frame (Xiaojia) and Big Frame (Dajia). As he could flexibly avoid being attacked and attack the opponents, Yang Luchan was well-known for his own styles which were called “Soft Style” and “Melt Style”. These styles are characterized by “natural movements, continuity, and flexibility” as well as the distinctive and beautiful manner combining strength and softness. People of all ages, genders and physical conditions can choose it as a way to keep healthy and strengthen the body. As a result, Yang Style has been the most widespread and the most popular style out of the bunch, which has been learned by nearly 0.3 billion people throughout the world.&lt;br /&gt;
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''' (3) Wu Style (by Wu Yuxiang) '''&lt;br /&gt;
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Created in the end of the Qing Dynasty (1644 - 1911), it belongs to the traditional Chinese Tai Chi. Different from the Chen and Yang styles, Wu Style stresses the spirit and energy. Its features are to change styles as the opponents change, to attack by the accumulated strength and to also achieve inner strength rather than the merely physical strength. It is suitable for the literates because it lays emphasis on the hands never lifting over the eyebrows, feet never reaching far out and each hand only control one half of the body. Additionally, the steps are overlapped and the feet move as if creating calligraphy. &lt;br /&gt;
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''' (4) Wu Style (by Wu Jianquan) '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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Additionally, there are many other branches, such as Regimen Tai Chi, Wudang Tai Chi, Eight-Diagram Tai Chi, South Area Style, Wuqing Style and others. Wudang Style, combing the martial arts and fitness ideology, is beneficial to improve people’s intelligence and strengthen the physical qualities. South Area Style emphasizes the skills and the elegant shapes, while Wuqing Style focuses on the soft attack style hidden in the strength.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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Most of the research on Tai Chi has been done in older individuals in the area of balance and fall prevention. This area of research is important because fall-related injuries are the leading cause of death from injury and disability among older adults.&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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One study looked at adults in their 60s and 70s who practiced tai chi three times a week for 12 weeks (60-minute classes). These adults were given a battery of physical-fitness tests to measure balance, muscular strength and endurance, and flexibility before and after the 12 weeks. After just six weeks, statistically significant improvements were observed in balance, muscular strength, endurance, and flexibility measures.&lt;br /&gt;
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The authors of the study concluded that Tai Chi is a potent intervention that improved balance, upper- and lower-body muscular strength and endurance, and upper- and lower-body flexibility in older adults. The research showed that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)&lt;br /&gt;
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''' (4) Aerobic Capacity '''&lt;br /&gt;
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Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. In another meta-analysis study, researchers looked at seven studies focusing on the effects of tai chi on aerobic capacity in adults (average age 55 years). 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. (Feng 2019, 87-90)&lt;br /&gt;
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--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)&lt;br /&gt;
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''' (5) Chronic Illnesses Prevention and Respiratory System Regulation '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132) Moreover, breathing is one of the three parts of Tai Chi. The deep breathing also helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Five. They are physical and mental health, balance and fall prevention, strength and endurance, aerobic capacity, chronic illness prevention and respiratory system regulation.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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1.Shu embroidery was originated in the early Shang Dynasty.→Shu embroidery originated in the early Shang Dynasty.&lt;br /&gt;
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2.At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war.→At that time, Shu Embroidery was even used to exchange carriages and horses to prepare for war.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 06:34, 16 June 2021 (UTC)&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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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.→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.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 06:25, 16 June 2021 (UTC)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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春秋战国: the Spring and Autumn Period and the Warring States Period--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:03, 15 June 2021 (UTC)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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“love of pushing with horns” or “preference for goring”--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:16, 15 June 2021 (UTC)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)&lt;br /&gt;
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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.&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Frolics of the Five Animals&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Frolics of the Five Animals&amp;quot; is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the &amp;quot;Five Animal-Frolics&amp;quot; can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What animals does Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.What kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the characteristics of the deer?&lt;br /&gt;
&lt;br /&gt;
== '''Answers''' ==&lt;br /&gt;
&lt;br /&gt;
1.Hua Tuo.&lt;br /&gt;
&lt;br /&gt;
2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
&lt;br /&gt;
3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
&lt;br /&gt;
4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
&lt;br /&gt;
5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
&lt;br /&gt;
== '''References''' ==&lt;br /&gt;
&lt;br /&gt;
[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
&lt;br /&gt;
[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
&lt;br /&gt;
[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
&lt;br /&gt;
[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
&lt;br /&gt;
[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
&lt;br /&gt;
[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
&lt;br /&gt;
[7] Five Animal Frolics&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
==Introduction==&lt;br /&gt;
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.&lt;br /&gt;
&lt;br /&gt;
==History==&lt;br /&gt;
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe was called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, there are two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:&lt;br /&gt;
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, which is discovered to have existed since 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.&lt;br /&gt;
&lt;br /&gt;
===The Development of Cultivation Technology===&lt;br /&gt;
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]&lt;br /&gt;
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.&lt;br /&gt;
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.&lt;br /&gt;
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)&lt;br /&gt;
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.&lt;br /&gt;
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.&lt;br /&gt;
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.&lt;br /&gt;
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.&lt;br /&gt;
&lt;br /&gt;
===The Kind of Crops===&lt;br /&gt;
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.&lt;br /&gt;
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.&lt;br /&gt;
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”&lt;br /&gt;
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.&lt;br /&gt;
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The Land Ownership System===&lt;br /&gt;
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.&lt;br /&gt;
In primitive society, land belonged to the whole tribe and people worked together.&lt;br /&gt;
In Shan Dynasty and Zhou Dynasty, the &amp;quot;Nine Squares&amp;quot; system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.&lt;br /&gt;
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned. &lt;br /&gt;
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.&lt;br /&gt;
&lt;br /&gt;
Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture eats up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.&lt;br /&gt;
&lt;br /&gt;
==Terms and Expressions==&lt;br /&gt;
&lt;br /&gt;
农耕文明：the Cultivation Culture &lt;br /&gt;
&lt;br /&gt;
渔猎文明：the Fishing-Hunting Culture&lt;br /&gt;
&lt;br /&gt;
游牧文明：Nomadic Civilization&lt;br /&gt;
&lt;br /&gt;
 两河流域（长江和黄河）：Two-River-Drainage Area &lt;br /&gt;
&lt;br /&gt;
炎帝（神农）: Emperor Fire(Shen Nong) &lt;br /&gt;
&lt;br /&gt;
五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.&lt;br /&gt;
&lt;br /&gt;
河姆渡文明：the Hemudu Culture&lt;br /&gt;
&lt;br /&gt;
半坡文明：the Banpo Culture&lt;br /&gt;
&lt;br /&gt;
耧车:Louche, an animal-drawn seed plough&lt;br /&gt;
&lt;br /&gt;
曲辕犁(Quyuanli)： Crankshaft&lt;br /&gt;
&lt;br /&gt;
翻车(Fanche)：Turn-over Water Wheel&lt;br /&gt;
&lt;br /&gt;
筒车：Tongche(literation, “che” refers to wheeled machine)&lt;br /&gt;
&lt;br /&gt;
育秧移植栽培：Seedling Transplanting Cultivation&lt;br /&gt;
&lt;br /&gt;
都江堰：the Dujiang Dam&lt;br /&gt;
&lt;br /&gt;
《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi&lt;br /&gt;
&lt;br /&gt;
《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie&lt;br /&gt;
&lt;br /&gt;
《农书》王祯：Agricultural Book,written by Wang Zhen&lt;br /&gt;
&lt;br /&gt;
《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi &lt;br /&gt;
&lt;br /&gt;
《茶经》：The Classic on Tea&lt;br /&gt;
&lt;br /&gt;
西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.&lt;br /&gt;
&lt;br /&gt;
占城稻：Zhan City rice&lt;br /&gt;
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24节气：twenty-four solar terms&lt;br /&gt;
&lt;br /&gt;
井田制：the Nine Squares system&lt;br /&gt;
&lt;br /&gt;
土地私有制：The land private-owning system&lt;br /&gt;
&lt;br /&gt;
均田制：Land Equalization Policy&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”&lt;br /&gt;
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[2] 《淮南子•修务训》：“古者，民茹草饮水， 采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷， 相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此 之时，一日而遇七十毒。”&lt;br /&gt;
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[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活&lt;br /&gt;
&lt;br /&gt;
[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57. &lt;br /&gt;
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[5]中国古代农业技术的进步发展&lt;br /&gt;
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[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html&lt;br /&gt;
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[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.&lt;br /&gt;
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[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.&lt;br /&gt;
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[9]古代水利工具 翻车 筒车示意图&lt;br /&gt;
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[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名&lt;br /&gt;
&lt;br /&gt;
[11]王璞 西域英译考辨 2017&lt;br /&gt;
&lt;br /&gt;
==Question==&lt;br /&gt;
1. What is the land ownership system in Tang Dynasty?&lt;br /&gt;
&lt;br /&gt;
2. When did the high-yield crop come to China?&lt;br /&gt;
&lt;br /&gt;
3. Did Bi Lan invent Fanche?&lt;br /&gt;
&lt;br /&gt;
4. What are the last two of the four great agricultural books according to the time?&lt;br /&gt;
&lt;br /&gt;
==Answer==&lt;br /&gt;
1.the Land Private-Owning System and Land Equalization Policy.&lt;br /&gt;
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2.In Ming Dynasty.&lt;br /&gt;
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3.Yes.&lt;br /&gt;
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4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
&lt;br /&gt;
== '''1.Overview''' ==&lt;br /&gt;
&lt;br /&gt;
The Ancient Chinese literature &amp;quot;Shan Hai Jing&amp;quot;, also known as &amp;quot;The Classic of Mountains and Seas&amp;quot; and &amp;quot;The Classic of Great Wilderness&amp;quot;, 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.&lt;br /&gt;
&lt;br /&gt;
As for the content, it is not a narrative. The &amp;quot;plot&amp;quot; involves detailed descriptions of locations in the general direction of the &amp;quot;Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness&amp;quot;. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of &amp;quot;The Classic of Mountains and Seas&amp;quot; progress very much like a travelogue, with each section focusing on a 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 which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands &amp;quot;beyond the sea&amp;quot;. In general, it functions as a guide, through which we can know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)&lt;br /&gt;
&lt;br /&gt;
=='''2.Authorship'''==&lt;br /&gt;
Who wrote the book and when it was written are 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 following generations. (Yang Xinghui / Luo Dahe 2016: 66,73)&lt;br /&gt;
&lt;br /&gt;
=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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 known 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)&lt;br /&gt;
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Here are some images and brief introductions to some typical mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
The earliest reference to &amp;quot;the Classic of Mountains and Seas&amp;quot; in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of &amp;quot;the Classic of Mountains and Seas&amp;quot; in the traditional Chinese civilization. Hence, since Liu Xiu of the Han Dynasty complied &amp;quot;the table of the Classic of Mountains and Seas&amp;quot; and Guo Pu of the Jin Dynasty made the first note about &amp;quot;the Classic&amp;quot;, scarcely had there been someone studying the book. Then, in the early twentieth century, the concept of &amp;quot;mythology&amp;quot; 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 &amp;quot;the Classic&amp;quot;. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of &amp;quot;Chinese mythology&amp;quot;.  (Chen Shuai 2013: 209)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
&amp;quot;The Classic of Mountains and Seas&amp;quot; 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. &amp;quot;The Classic&amp;quot; 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 techniques of the early Chinese novels.(Xiang Wei 2021: 25-26)&lt;br /&gt;
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==References==&lt;br /&gt;
[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 &amp;quot;the Classic of Mountains and Seas&amp;quot; on the later literature ]. “文学研究”Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.&lt;br /&gt;
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[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in &amp;quot;The Classic of Mountains and Seas&amp;quot;]. “瓦莱拉克社会科学杂志”Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.&lt;br /&gt;
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[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 &amp;quot;the Classic of Mountains and Seas&amp;quot;]. “现代交际” Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of &amp;quot;the Classic of Mountains and Seas&amp;quot;]. “学理论” Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.&lt;br /&gt;
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[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of &amp;quot;the Classic of Mountains and Seas&amp;quot;][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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18 sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of &amp;quot;the Classic&amp;quot;.&lt;br /&gt;
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Corrector--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 15:14, 15 June 2021 (UTC)&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;br /&gt;
&lt;br /&gt;
=Li Xinyue李欣玥 Marriage accompanying songs in Hunan(17级翻译 学号201730092013)=&lt;br /&gt;
==A.Introduction==&lt;br /&gt;
Hunan folk songs are accumulated in the long-term social labor and life of Hunan people. Custom songs are a type of folk songs that are sung in specific custom activities and directly reflect the basic content and characteristics of the custom activities. Folklore needs folk songs to complete its content, and folklore needs folklore as a carrier to pass on. Weddings and funerals are several very important events in a person's life, and are an important part of folklore. Custom songs about weddings and funerals account for a very large proportion of the total number of folk songs in Hunan.（Wen Qiaofeng，2018,1）&lt;br /&gt;
The folk custom of crying for marriage is popular in many areas of our country, and the custom of crying for marriage is unique in Hunan. It is called &amp;quot;marriage accompanying&amp;quot; in many places in Hunan, and the marriage lament is an important part of Hunan folk songs. The marriage accompanying songs of Chenzhou and Yongzhou in southern Hunan Province have long been famous for their rich and unique singing. Among them, the marriage accompanying songs of Chenzhou are the most representative. In different regions, there are many different names for this accompanying marriage activity, such as  &amp;quot;crying in the singing hall&amp;quot;, &amp;quot;crying in the garden&amp;quot;, etc. The songs sung in this custom activity are called,&amp;quot;Zuotang Song&amp;quot;, &amp;quot;Garden Song&amp;quot; and so on. （Wen Qiaofeng，2018,chapter1,5）&lt;br /&gt;
==B.Legend about marriage accompanying songs in Hunan==&lt;br /&gt;
There is also a very interesting legend about its origin. According to legend, the king of the Chu Kingdom was named Chu Yidi, and he had a daughter named Chu Yu. One day when Chu yu was traveling, she met Chen Xianyun, a fugitive woman from  a county in southern Hunan. After learning about her unfortunate coming marriage, she provided her with many things , gave a lot of help, and then led a group of fairies to Chen Xianyun's home on the eve of her marriage to cheer her up. The two girls sang and sang hundreds of narrative songs in succession. The fairies also sang and danced to the beat. From time to time, they sang a few words in antithesis with the princess and Chen Xianyun. The princess and the fairies didn’t return until dawn was about to show up. （Wen Qiaofeng，2018,chapter1,6）&lt;br /&gt;
==C.Significance of marriage accompanying songs==&lt;br /&gt;
Marriage accompanying songsis a kind of farewell activity that female companions do with the girl’s expressions of singing. The most prominent feature is around the bride’s marriage, confiding their feelings of parting, and it also expresses their resentment towards the feudal marriage system and the old ethics. Anger and resistance are dominant. According to incomplete statistics, there are still more than 1,200 songs about the marriage accompanying in southern Hunan.&lt;br /&gt;
&lt;br /&gt;
In 1993, the Jiahe county in southern Hunan was named the &amp;quot;Hometown of Folk Songs&amp;quot; by the Provincial Department of Culture. After the founding of the People's Republic of China, the southern Hunan wedding lament was protected as an artistic wonder in the national characteristic culture. In 1978, the Provincial Department of Culture held a provincial folk song concert in Chenzhou,Hunan and named Chengguan Town as the &amp;quot;Hometown of Folk Songs&amp;quot; in the province.&lt;br /&gt;
&lt;br /&gt;
The Central Conservatory of Music, Shanghai Conservatory of Music and other professional colleges also use the county folk songs (namely wedding lament songs) as teaching materials. The original wedding folk songs are used in films such as &amp;quot; Hibiscus Town &amp;quot;, &amp;quot; The Tortuous Mountain Path &amp;quot;, &amp;quot; Gongs and Drums in towns&amp;quot;. On May 24, 2021, the marriage lament declared by Jiahe County, Chenzhou City, Hunan Province, was approved by the State Council to be included in the fifth batch of national intangible cultural heritage representative projects.(Chinese government website,2021,06)&lt;br /&gt;
&lt;br /&gt;
==D.Types of marriage accompanying songs==&lt;br /&gt;
Marriage accompanying songs are not limited to the inherent types. There are long songs, marriage joking songs, and crying songs, as well as teasing bridegroom songs.But accompaniment dances are always performed during singing process.&lt;br /&gt;
 &lt;br /&gt;
First of all, for long songs, they mainly tell sad stories, express unwilling emotions and sad emotions. Existing long songs mostly focus on marital tragedies. Taking into account the weak rhythm and complex thinking of the songs, they are generally sung by high-level artists and singers. &lt;br /&gt;
&lt;br /&gt;
Secondly, in terms of marriage jokes, this type of songs have a large number, distinctive features, and flexible structure. It is a kind of songs that women prefer. The song has a simple sentence pattern, mostly four sentences, and the artistic expression is rich and diverse. This kind of joking songs can be expressed with the help of multi-section style expressions  and single style expressions, which are rich in content and involve not only interesting children's songs but also sad songs. Regarding the crying marriage song, it focuses on expressing emotions in the form of crying. The theme of the song focuses on nostalgia and complaining. Both the crying and the song are played casually, and the artistic characteristics are different from other types of songs.&lt;br /&gt;
&lt;br /&gt;
Fourthly, as far as the teasing bridegroom songs are concerned, this type of song is an important manifestation of folklore and occupies a certain position in the wedding song. It mainly tells the plot of the groom being teased. The structure and sentence pattern are relatively simple. Finally, as for the accompaniment dance, the dance is closely related to marriage joking songs and is a free dance that is not restricted by props. Any daily necessities can be used as dance props, which is the main embodiment of humorous thoughts.(Liao Xinglin,2020,08)&lt;br /&gt;
&lt;br /&gt;
==E.Process of marriage accompanying==&lt;br /&gt;
Traditional marrying accompanying is divided into two steps. Two nights before the wedding, the bride and her female friends sits in the singing hall to accompany the marriage, mainly singing &amp;quot;marriage joking songs&amp;quot;. This is called &amp;quot;short marriage accompanying &amp;quot;.It starts after dinner and ends in the middle of the night. Sitting in the singing hall on the eve of marriage is called &amp;quot;long marriage accompanying &amp;quot;. It also starts after dinner, but it doesn't stop all night, and it will continue to sing until dawn the next day. &lt;br /&gt;
&lt;br /&gt;
Girls singing marriage joking songs in the middle of the night, singing a long song in the second half of the night, and performing the accompaniment dances at dawn the next day, then the bride will come out to cry for marriage.&lt;br /&gt;
&lt;br /&gt;
The word for crying for marriage is to see people crying, improvised, mainly to express the feelings of farewell. The content of the accompaniment songs is very rich, there are those who spread history and production knowledge, some who sing about women's labor life, customs, and astronomy and geography, some who laugh and play, there are guessing songs, love songs, and everything. &lt;br /&gt;
&lt;br /&gt;
But the most sung songs are the songs that tell parting and reflect the pain of women. When dancing, everything you encounter can be used as a dance tool, which is very lively and free, and has a strong breath of life. The bride cried and sang farewell to relatives and friends at home and then boarded the sedan chair. The sisters were sent to the pavilion on the way and then returned. The whole marriage process was completed. The bride’s brothers, uncles and cousins (all men) will send the family and guests to the husband’s house.(kekeshici,2019,05)&lt;br /&gt;
&lt;br /&gt;
==Terms and expressions==&lt;br /&gt;
Marriage accompanying songs 伴嫁歌&lt;br /&gt;
&lt;br /&gt;
marriage accompanying 伴嫁&lt;br /&gt;
&lt;br /&gt;
crying in the singing hall 坐歌堂&lt;br /&gt;
&lt;br /&gt;
crying in the garden 坐花园&lt;br /&gt;
&lt;br /&gt;
Zuotang Song 坐堂歌&lt;br /&gt;
&lt;br /&gt;
Wedding lament songs/crying songs 哭嫁歌&lt;br /&gt;
&lt;br /&gt;
long songs 长歌&lt;br /&gt;
&lt;br /&gt;
marriage joking songs耍歌&lt;br /&gt;
&lt;br /&gt;
teasing bridegroom songs 徒歌 &lt;br /&gt;
&lt;br /&gt;
accompaniment dances 伴嫁舞&lt;br /&gt;
&lt;br /&gt;
Hibiscus Town 《芙蓉镇》&lt;br /&gt;
&lt;br /&gt;
The Tortuous Mountain Path 《山路弯弯》&lt;br /&gt;
&lt;br /&gt;
Gongs and Drums in towns 《乡镇锣鼓》&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What kind of song does the marriage accompanying song in southern Hunan belong to?&lt;br /&gt;
&lt;br /&gt;
2.Who will sing the marriage accompanying song?&lt;br /&gt;
&lt;br /&gt;
3.List at least 3 themes that marriage accompanying songs would cover.&lt;br /&gt;
&lt;br /&gt;
4.What types of marriage accompanying songs are there?&lt;br /&gt;
&lt;br /&gt;
5.During the singing activity process, would singers sing for the whole night in the &amp;quot;short marriage accompanying&amp;quot;？&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.folk song&lt;br /&gt;
&lt;br /&gt;
2.the bride and her female friends&lt;br /&gt;
&lt;br /&gt;
3.history and production knowledge, women's labor life, customs, astronomy and geography, parting and reflect the pain of women,nostalgia and complaining.（and so on）&lt;br /&gt;
&lt;br /&gt;
4.long songs, marriage joking songs, crying songs, as well as teasing bridegroom songs.&lt;br /&gt;
&lt;br /&gt;
5.No,it would only last until the midnight.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[1]廖星麟.嘉禾伴嫁歌的音乐特征与演唱特征研究[J].戏剧之家,2020(08):56-57.&lt;br /&gt;
&lt;br /&gt;
[2]文巧风. 论湖南风俗民歌[D].湖南师范大学,2018.&lt;br /&gt;
&lt;br /&gt;
[3]可可诗词网，湘南嘉禾伴嫁歌,https://www.kekeshici.com，2019&lt;br /&gt;
&lt;br /&gt;
[4] 李琴,李跃忠.嘉禾“伴嫁歌”研究综述[J].文教资料,2019(31):87-89.&lt;br /&gt;
&lt;br /&gt;
[5] 中国政府网，国务院关于公布第五批国家级非物质文化遗产代表性项目名录的通知，http://www.gov.cn/zhengce/content/2021-06/10/content_5616457，2021,05&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123460</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123460"/>
		<updated>2021-06-16T06:32:17Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* History and Development */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
[[File: tai chi.jpg|200px|thumb|left|tai chi(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fphoto.orsoon.com%2F171219%2FPeople_practicing_thai_chi_in_park%2F8C5V3q1noW.jpg&amp;amp;refer=http%3A%2F%2Fphoto.orsoon.com&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626366719&amp;amp;t=e2d77d483f75db985b883cbd040b0fe8)]]&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
Generally speaking, this style was created by Chen Wangting (1580 - 1660) who combined the ideology of Chinese traditional Yin and Yang with his ancestral Long Fist (Changquan) to create a new 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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
Yang Style was created by Yang Luchan (1800 - 1873) who loved learning martial arts in his childhood. He learned Tai Chi from Chen Changxing and cultivated his own style which was divided into Small Frame (Xiaojia) and Big Frame (Dajia). As he could flexibly avoid being attacked and attack the opponents, Yang Luchan was well-known for his own styles which were called “Soft Style” and “Melt Style”. These styles are characterized by “natural movements, continuity, and flexibility” as well as the distinctive and beautiful manner combining strength and softness. People of all ages, genders and physical conditions can choose it as a way to keep healthy and strengthen the body. As a result, Yang Style has been the most widespread and the most popular style out of the bunch, which has been learned by nearly 0.3 billion people throughout the world.&lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style (by Wu Yuxiang) '''&lt;br /&gt;
&lt;br /&gt;
Created in the end of the Qing Dynasty (1644 - 1911), it belongs to the traditional Chinese Tai Chi. Different from the Chen and Yang styles, Wu Style stresses the spirit and energy. Its features are to change styles as the opponents change, to attack by the accumulated strength and to also achieve inner strength rather than the merely physical strength. It is suitable for the literates because it lays emphasis on the hands never lifting over the eyebrows, feet never reaching far out and each hand only control one half of the body. Additionally, the steps are overlapped and the feet move as if creating calligraphy. &lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style (by Wu Jianquan) '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Additionally, there are many other branches, such as Regimen Tai Chi, Wudang Tai Chi, Eight-Diagram Tai Chi, South Area Style, Wuqing Style and others. Wudang Style, combing the martial arts and fitness ideology, is beneficial to improve people’s intelligence and strengthen the physical qualities. South Area Style emphasizes the skills and the elegant shapes, while Wuqing Style focuses on the soft attack style hidden in the strength.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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Most of the research on Tai Chi has been done in older individuals in the area of balance and fall prevention. This area of research is important because fall-related injuries are the leading cause of death from injury and disability among older adults.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
One study looked at adults in their 60s and 70s who practiced tai chi three times a week for 12 weeks (60-minute classes). These adults were given a battery of physical-fitness tests to measure balance, muscular strength and endurance, and flexibility before and after the 12 weeks. After just six weeks, statistically significant improvements were observed in balance, muscular strength, endurance, and flexibility measures.&lt;br /&gt;
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The authors of the study concluded that Tai Chi is a potent intervention that improved balance, upper- and lower-body muscular strength and endurance, and upper- and lower-body flexibility in older adults. The research showed that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)&lt;br /&gt;
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''' (4) Aerobic Capacity '''&lt;br /&gt;
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Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. In another meta-analysis study, researchers looked at seven studies focusing on the effects of tai chi on aerobic capacity in adults (average age 55 years). 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. (Feng 2019, 87-90)&lt;br /&gt;
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--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)&lt;br /&gt;
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''' (5) Chronic Illnesses Prevention and Respiratory System Regulation '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132) Moreover, breathing is one of the three parts of Tai Chi. The deep breathing also helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Five. They are physical and mental health, balance and fall prevention, strength and endurance, aerobic capacity, chronic illness prevention and respiratory system regulation.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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1.Shu embroidery was originated in the early Shang Dynasty.→Shu embroidery originated in the early Shang Dynasty.&lt;br /&gt;
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2.At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war.→At that time, Shu Embroidery was even used to exchange carriages and horses to prepare for war.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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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.→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.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 06:25, 16 June 2021 (UTC)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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春秋战国: the Spring and Autumn Period and the Warring States Period--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:03, 15 June 2021 (UTC)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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“love of pushing with horns” or “preference for goring”--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:16, 15 June 2021 (UTC)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)&lt;br /&gt;
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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.&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Frolics of the Five Animals&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Frolics of the Five Animals&amp;quot; is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the &amp;quot;Five Animal-Frolics&amp;quot; can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners 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.&lt;br /&gt;
&lt;br /&gt;
'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
&lt;br /&gt;
'''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.&lt;br /&gt;
&lt;br /&gt;
'''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. &lt;br /&gt;
&lt;br /&gt;
'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
&lt;br /&gt;
'''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.&lt;br /&gt;
&lt;br /&gt;
(Five Animal Frolics)&lt;br /&gt;
&lt;br /&gt;
== '''Terms and Expressions''' ==&lt;br /&gt;
&lt;br /&gt;
Frolics of the Five Animals 五禽戏&lt;br /&gt;
&lt;br /&gt;
Hua Tuo 华佗&lt;br /&gt;
&lt;br /&gt;
Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Chi-kung 气功&lt;br /&gt;
&lt;br /&gt;
the Tiger Frolics 虎戏&lt;br /&gt;
&lt;br /&gt;
the Deer Frolics 鹿戏&lt;br /&gt;
&lt;br /&gt;
the Bear Frolics 熊戏&lt;br /&gt;
&lt;br /&gt;
the Ape Frolics 猿戏&lt;br /&gt;
&lt;br /&gt;
the Crane Frolics 鹤戏&lt;br /&gt;
&lt;br /&gt;
curing lung diseases 肺病&lt;br /&gt;
&lt;br /&gt;
asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
high blood pressure 高血压&lt;br /&gt;
&lt;br /&gt;
indigestion 消化不良&lt;br /&gt;
&lt;br /&gt;
to move blood and Qi 活血益气&lt;br /&gt;
&lt;br /&gt;
to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
&lt;br /&gt;
== '''Questions''' ==&lt;br /&gt;
&lt;br /&gt;
1.Who is the founder of Wuqinxi?&lt;br /&gt;
&lt;br /&gt;
2.What animals does Wuqinxi imitate?&lt;br /&gt;
&lt;br /&gt;
3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
&lt;br /&gt;
4.What kind of play is externally dynamic and internally static?&lt;br /&gt;
&lt;br /&gt;
5.What are the characteristics of the deer?&lt;br /&gt;
&lt;br /&gt;
== '''Answers''' ==&lt;br /&gt;
&lt;br /&gt;
1.Hua Tuo.&lt;br /&gt;
&lt;br /&gt;
2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
&lt;br /&gt;
3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
&lt;br /&gt;
4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
&lt;br /&gt;
5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
&lt;br /&gt;
== '''References''' ==&lt;br /&gt;
&lt;br /&gt;
[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
&lt;br /&gt;
[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
&lt;br /&gt;
[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
&lt;br /&gt;
[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
&lt;br /&gt;
[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
&lt;br /&gt;
[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
&lt;br /&gt;
[7] Five Animal Frolics&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
==Introduction==&lt;br /&gt;
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.&lt;br /&gt;
&lt;br /&gt;
==History==&lt;br /&gt;
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe was called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, there are two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:&lt;br /&gt;
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, which is discovered to have existed since 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.&lt;br /&gt;
&lt;br /&gt;
===The Development of Cultivation Technology===&lt;br /&gt;
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]&lt;br /&gt;
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.&lt;br /&gt;
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.&lt;br /&gt;
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)&lt;br /&gt;
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.&lt;br /&gt;
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.&lt;br /&gt;
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.&lt;br /&gt;
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.&lt;br /&gt;
&lt;br /&gt;
===The Kind of Crops===&lt;br /&gt;
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.&lt;br /&gt;
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.&lt;br /&gt;
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”&lt;br /&gt;
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.&lt;br /&gt;
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
===The Land Ownership System===&lt;br /&gt;
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.&lt;br /&gt;
In primitive society, land belonged to the whole tribe and people worked together.&lt;br /&gt;
In Shan Dynasty and Zhou Dynasty, the &amp;quot;Nine Squares&amp;quot; system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.&lt;br /&gt;
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned. &lt;br /&gt;
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.&lt;br /&gt;
&lt;br /&gt;
Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture eats up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.&lt;br /&gt;
&lt;br /&gt;
==Terms and Expressions==&lt;br /&gt;
&lt;br /&gt;
农耕文明：the Cultivation Culture &lt;br /&gt;
&lt;br /&gt;
渔猎文明：the Fishing-Hunting Culture&lt;br /&gt;
&lt;br /&gt;
游牧文明：Nomadic Civilization&lt;br /&gt;
&lt;br /&gt;
 两河流域（长江和黄河）：Two-River-Drainage Area &lt;br /&gt;
&lt;br /&gt;
炎帝（神农）: Emperor Fire(Shen Nong) &lt;br /&gt;
&lt;br /&gt;
五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.&lt;br /&gt;
&lt;br /&gt;
河姆渡文明：the Hemudu Culture&lt;br /&gt;
&lt;br /&gt;
半坡文明：the Banpo Culture&lt;br /&gt;
&lt;br /&gt;
耧车:Louche, an animal-drawn seed plough&lt;br /&gt;
&lt;br /&gt;
曲辕犁(Quyuanli)： Crankshaft&lt;br /&gt;
&lt;br /&gt;
翻车(Fanche)：Turn-over Water Wheel&lt;br /&gt;
&lt;br /&gt;
筒车：Tongche(literation, “che” refers to wheeled machine)&lt;br /&gt;
&lt;br /&gt;
育秧移植栽培：Seedling Transplanting Cultivation&lt;br /&gt;
&lt;br /&gt;
都江堰：the Dujiang Dam&lt;br /&gt;
&lt;br /&gt;
《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi&lt;br /&gt;
&lt;br /&gt;
《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie&lt;br /&gt;
&lt;br /&gt;
《农书》王祯：Agricultural Book,written by Wang Zhen&lt;br /&gt;
&lt;br /&gt;
《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi &lt;br /&gt;
&lt;br /&gt;
《茶经》：The Classic on Tea&lt;br /&gt;
&lt;br /&gt;
西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.&lt;br /&gt;
&lt;br /&gt;
占城稻：Zhan City rice&lt;br /&gt;
&lt;br /&gt;
24节气：twenty-four solar terms&lt;br /&gt;
&lt;br /&gt;
井田制：the Nine Squares system&lt;br /&gt;
&lt;br /&gt;
土地私有制：The land private-owning system&lt;br /&gt;
&lt;br /&gt;
均田制：Land Equalization Policy&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”&lt;br /&gt;
 &lt;br /&gt;
[2] 《淮南子•修务训》：“古者，民茹草饮水， 采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷， 相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此 之时，一日而遇七十毒。”&lt;br /&gt;
&lt;br /&gt;
[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活&lt;br /&gt;
&lt;br /&gt;
[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57. &lt;br /&gt;
&lt;br /&gt;
[5]中国古代农业技术的进步发展&lt;br /&gt;
&lt;br /&gt;
[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html&lt;br /&gt;
&lt;br /&gt;
[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.&lt;br /&gt;
&lt;br /&gt;
[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.&lt;br /&gt;
&lt;br /&gt;
[9]古代水利工具 翻车 筒车示意图&lt;br /&gt;
&lt;br /&gt;
[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名&lt;br /&gt;
&lt;br /&gt;
[11]王璞 西域英译考辨 2017&lt;br /&gt;
&lt;br /&gt;
==Question==&lt;br /&gt;
1. What is the land ownership system in Tang Dynasty?&lt;br /&gt;
&lt;br /&gt;
2. When did the high-yield crop come to China?&lt;br /&gt;
&lt;br /&gt;
3. Did Bi Lan invent Fanche?&lt;br /&gt;
&lt;br /&gt;
4. What are the last two of the four great agricultural books according to the time?&lt;br /&gt;
&lt;br /&gt;
==Answer==&lt;br /&gt;
1.the Land Private-Owning System and Land Equalization Policy.&lt;br /&gt;
&lt;br /&gt;
2.In Ming Dynasty.&lt;br /&gt;
&lt;br /&gt;
3.Yes.&lt;br /&gt;
&lt;br /&gt;
4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
&lt;br /&gt;
== '''1.Overview''' ==&lt;br /&gt;
&lt;br /&gt;
The Ancient Chinese literature &amp;quot;Shan Hai Jing&amp;quot;, also known as &amp;quot;The Classic of Mountains and Seas&amp;quot; and &amp;quot;The Classic of Great Wilderness&amp;quot;, 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.&lt;br /&gt;
&lt;br /&gt;
As for the content, it is not a narrative. The &amp;quot;plot&amp;quot; involves detailed descriptions of locations in the general direction of the &amp;quot;Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness&amp;quot;. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of &amp;quot;The Classic of Mountains and Seas&amp;quot; progress very much like a travelogue, with each section focusing on a 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 which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands &amp;quot;beyond the sea&amp;quot;. In general, it functions as a guide, through which we can know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)&lt;br /&gt;
&lt;br /&gt;
=='''2.Authorship'''==&lt;br /&gt;
Who wrote the book and when it was written are 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 following generations. (Yang Xinghui / Luo Dahe 2016: 66,73)&lt;br /&gt;
&lt;br /&gt;
=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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 known 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)&lt;br /&gt;
&lt;br /&gt;
Here are some images and brief introductions to some typical mythical creatures within the book.&lt;br /&gt;
&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
The earliest reference to &amp;quot;the Classic of Mountains and Seas&amp;quot; in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of &amp;quot;the Classic of Mountains and Seas&amp;quot; in the traditional Chinese civilization. Hence, since Liu Xiu of the Han Dynasty complied &amp;quot;the table of the Classic of Mountains and Seas&amp;quot; and Guo Pu of the Jin Dynasty made the first note about &amp;quot;the Classic&amp;quot;, scarcely had there been someone studying the book. Then, in the early twentieth century, the concept of &amp;quot;mythology&amp;quot; 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 &amp;quot;the Classic&amp;quot;. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of &amp;quot;Chinese mythology&amp;quot;.  (Chen Shuai 2013: 209)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
&amp;quot;The Classic of Mountains and Seas&amp;quot; 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. &amp;quot;The Classic&amp;quot; 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 techniques of the early Chinese novels.(Xiang Wei 2021: 25-26)&lt;br /&gt;
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==References==&lt;br /&gt;
[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 &amp;quot;the Classic of Mountains and Seas&amp;quot; on the later literature ]. “文学研究”Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.&lt;br /&gt;
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[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in &amp;quot;The Classic of Mountains and Seas&amp;quot;]. “瓦莱拉克社会科学杂志”Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.&lt;br /&gt;
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[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 &amp;quot;the Classic of Mountains and Seas&amp;quot;]. “现代交际” Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of &amp;quot;the Classic of Mountains and Seas&amp;quot;]. “学理论” Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.&lt;br /&gt;
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[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of &amp;quot;the Classic of Mountains and Seas&amp;quot;][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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18 sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of &amp;quot;the Classic&amp;quot;.&lt;br /&gt;
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Corrector--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 15:14, 15 June 2021 (UTC)&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
&lt;br /&gt;
②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
&lt;br /&gt;
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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;br /&gt;
&lt;br /&gt;
=Li Xinyue李欣玥 Marriage accompanying songs in Hunan(17级翻译 学号201730092013)=&lt;br /&gt;
==A.Introduction==&lt;br /&gt;
Hunan folk songs are accumulated in the long-term social labor and life of Hunan people. Custom songs are a type of folk songs that are sung in specific custom activities and directly reflect the basic content and characteristics of the custom activities. Folklore needs folk songs to complete its content, and folklore needs folklore as a carrier to pass on. Weddings and funerals are several very important events in a person's life, and are an important part of folklore. Custom songs about weddings and funerals account for a very large proportion of the total number of folk songs in Hunan.（Wen Qiaofeng，2018,1）&lt;br /&gt;
The folk custom of crying for marriage is popular in many areas of our country, and the custom of crying for marriage is unique in Hunan. It is called &amp;quot;marriage accompanying&amp;quot; in many places in Hunan, and the marriage lament is an important part of Hunan folk songs. The marriage accompanying songs of Chenzhou and Yongzhou in southern Hunan Province have long been famous for their rich and unique singing. Among them, the marriage accompanying songs of Chenzhou are the most representative. In different regions, there are many different names for this accompanying marriage activity, such as  &amp;quot;crying in the singing hall&amp;quot;, &amp;quot;crying in the garden&amp;quot;, etc. The songs sung in this custom activity are called,&amp;quot;Zuotang Song&amp;quot;, &amp;quot;Garden Song&amp;quot; and so on. （Wen Qiaofeng，2018,chapter1,5）&lt;br /&gt;
==B.Legend about marriage accompanying songs in Hunan==&lt;br /&gt;
There is also a very interesting legend about its origin. According to legend, the king of the Chu Kingdom was named Chu Yidi, and he had a daughter named Chu Yu. One day when Chu yu was traveling, she met Chen Xianyun, a fugitive woman from  a county in southern Hunan. After learning about her unfortunate coming marriage, she provided her with many things , gave a lot of help, and then led a group of fairies to Chen Xianyun's home on the eve of her marriage to cheer her up. The two girls sang and sang hundreds of narrative songs in succession. The fairies also sang and danced to the beat. From time to time, they sang a few words in antithesis with the princess and Chen Xianyun. The princess and the fairies didn’t return until dawn was about to show up. （Wen Qiaofeng，2018,chapter1,6）&lt;br /&gt;
==C.Significance of marriage accompanying songs==&lt;br /&gt;
Marriage accompanying songsis a kind of farewell activity that female companions do with the girl’s expressions of singing. The most prominent feature is around the bride’s marriage, confiding their feelings of parting, and it also expresses their resentment towards the feudal marriage system and the old ethics. Anger and resistance are dominant. According to incomplete statistics, there are still more than 1,200 songs about the marriage accompanying in southern Hunan.&lt;br /&gt;
&lt;br /&gt;
In 1993, the Jiahe county in southern Hunan was named the &amp;quot;Hometown of Folk Songs&amp;quot; by the Provincial Department of Culture. After the founding of the People's Republic of China, the southern Hunan wedding lament was protected as an artistic wonder in the national characteristic culture. In 1978, the Provincial Department of Culture held a provincial folk song concert in Chenzhou,Hunan and named Chengguan Town as the &amp;quot;Hometown of Folk Songs&amp;quot; in the province.&lt;br /&gt;
&lt;br /&gt;
The Central Conservatory of Music, Shanghai Conservatory of Music and other professional colleges also use the county folk songs (namely wedding lament songs) as teaching materials. The original wedding folk songs are used in films such as &amp;quot; Hibiscus Town &amp;quot;, &amp;quot; The Tortuous Mountain Path &amp;quot;, &amp;quot; Gongs and Drums in towns&amp;quot;. On May 24, 2021, the marriage lament declared by Jiahe County, Chenzhou City, Hunan Province, was approved by the State Council to be included in the fifth batch of national intangible cultural heritage representative projects.(Chinese government website,2021,06)&lt;br /&gt;
&lt;br /&gt;
==D.Types of marriage accompanying songs==&lt;br /&gt;
Marriage accompanying songs are not limited to the inherent types. There are long songs, marriage joking songs, and crying songs, as well as teasing bridegroom songs.But accompaniment dances are always performed during singing process.&lt;br /&gt;
 &lt;br /&gt;
First of all, for long songs, they mainly tell sad stories, express unwilling emotions and sad emotions. Existing long songs mostly focus on marital tragedies. Taking into account the weak rhythm and complex thinking of the songs, they are generally sung by high-level artists and singers. &lt;br /&gt;
&lt;br /&gt;
Secondly, in terms of marriage jokes, this type of songs have a large number, distinctive features, and flexible structure. It is a kind of songs that women prefer. The song has a simple sentence pattern, mostly four sentences, and the artistic expression is rich and diverse. This kind of joking songs can be expressed with the help of multi-section style expressions  and single style expressions, which are rich in content and involve not only interesting children's songs but also sad songs. Regarding the crying marriage song, it focuses on expressing emotions in the form of crying. The theme of the song focuses on nostalgia and complaining. Both the crying and the song are played casually, and the artistic characteristics are different from other types of songs.&lt;br /&gt;
&lt;br /&gt;
Fourthly, as far as the teasing bridegroom songs are concerned, this type of song is an important manifestation of folklore and occupies a certain position in the wedding song. It mainly tells the plot of the groom being teased. The structure and sentence pattern are relatively simple. Finally, as for the accompaniment dance, the dance is closely related to marriage joking songs and is a free dance that is not restricted by props. Any daily necessities can be used as dance props, which is the main embodiment of humorous thoughts.(Liao Xinglin,2020,08)&lt;br /&gt;
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==E.Process of marriage accompanying==&lt;br /&gt;
Traditional marrying accompanying is divided into two steps. Two nights before the wedding, the bride and her female friends sits in the singing hall to accompany the marriage, mainly singing &amp;quot;marriage joking songs&amp;quot;. This is called &amp;quot;short marriage accompanying &amp;quot;.It starts after dinner and ends in the middle of the night. Sitting in the singing hall on the eve of marriage is called &amp;quot;long marriage accompanying &amp;quot;. It also starts after dinner, but it doesn't stop all night, and it will continue to sing until dawn the next day. &lt;br /&gt;
&lt;br /&gt;
Girls singing marriage joking songs in the middle of the night, singing a long song in the second half of the night, and performing the accompaniment dances at dawn the next day, then the bride will come out to cry for marriage.&lt;br /&gt;
&lt;br /&gt;
The word for crying for marriage is to see people crying, improvised, mainly to express the feelings of farewell. The content of the accompaniment songs is very rich, there are those who spread history and production knowledge, some who sing about women's labor life, customs, and astronomy and geography, some who laugh and play, there are guessing songs, love songs, and everything. &lt;br /&gt;
&lt;br /&gt;
But the most sung songs are the songs that tell parting and reflect the pain of women. When dancing, everything you encounter can be used as a dance tool, which is very lively and free, and has a strong breath of life. The bride cried and sang farewell to relatives and friends at home and then boarded the sedan chair. The sisters were sent to the pavilion on the way and then returned. The whole marriage process was completed. The bride’s brothers, uncles and cousins (all men) will send the family and guests to the husband’s house.(kekeshici,2019,05)&lt;br /&gt;
&lt;br /&gt;
==Terms and expressions==&lt;br /&gt;
Marriage accompanying songs 伴嫁歌&lt;br /&gt;
&lt;br /&gt;
marriage accompanying 伴嫁&lt;br /&gt;
&lt;br /&gt;
crying in the singing hall 坐歌堂&lt;br /&gt;
&lt;br /&gt;
crying in the garden 坐花园&lt;br /&gt;
&lt;br /&gt;
Zuotang Song 坐堂歌&lt;br /&gt;
&lt;br /&gt;
Wedding lament songs/crying songs 哭嫁歌&lt;br /&gt;
&lt;br /&gt;
long songs 长歌&lt;br /&gt;
&lt;br /&gt;
marriage joking songs耍歌&lt;br /&gt;
&lt;br /&gt;
teasing bridegroom songs 徒歌 &lt;br /&gt;
&lt;br /&gt;
accompaniment dances 伴嫁舞&lt;br /&gt;
&lt;br /&gt;
Hibiscus Town 《芙蓉镇》&lt;br /&gt;
&lt;br /&gt;
The Tortuous Mountain Path 《山路弯弯》&lt;br /&gt;
&lt;br /&gt;
Gongs and Drums in towns 《乡镇锣鼓》&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What kind of song does the marriage accompanying song in southern Hunan belong to?&lt;br /&gt;
&lt;br /&gt;
2.Who will sing the marriage accompanying song?&lt;br /&gt;
&lt;br /&gt;
3.List at least 3 themes that marriage accompanying songs would cover.&lt;br /&gt;
&lt;br /&gt;
4.What types of marriage accompanying songs are there?&lt;br /&gt;
&lt;br /&gt;
5.During the singing activity process, would singers sing for the whole night in the &amp;quot;short marriage accompanying&amp;quot;？&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.folk song&lt;br /&gt;
&lt;br /&gt;
2.the bride and her female friends&lt;br /&gt;
&lt;br /&gt;
3.history and production knowledge, women's labor life, customs, astronomy and geography, parting and reflect the pain of women,nostalgia and complaining.（and so on）&lt;br /&gt;
&lt;br /&gt;
4.long songs, marriage joking songs, crying songs, as well as teasing bridegroom songs.&lt;br /&gt;
&lt;br /&gt;
5.No,it would only last until the midnight.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[1]廖星麟.嘉禾伴嫁歌的音乐特征与演唱特征研究[J].戏剧之家,2020(08):56-57.&lt;br /&gt;
&lt;br /&gt;
[2]文巧风. 论湖南风俗民歌[D].湖南师范大学,2018.&lt;br /&gt;
&lt;br /&gt;
[3]可可诗词网，湘南嘉禾伴嫁歌,https://www.kekeshici.com，2019&lt;br /&gt;
&lt;br /&gt;
[4] 李琴,李跃忠.嘉禾“伴嫁歌”研究综述[J].文教资料,2019(31):87-89.&lt;br /&gt;
&lt;br /&gt;
[5] 中国政府网，国务院关于公布第五批国家级非物质文化遗产代表性项目名录的通知，http://www.gov.cn/zhengce/content/2021-06/10/content_5616457，2021,05&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123453</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123453"/>
		<updated>2021-06-16T06:25:24Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* 1. Material Selection */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
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*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
[[File: tai chi.jpg|200px|thumb|left|tai chi(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fphoto.orsoon.com%2F171219%2FPeople_practicing_thai_chi_in_park%2F8C5V3q1noW.jpg&amp;amp;refer=http%3A%2F%2Fphoto.orsoon.com&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626366719&amp;amp;t=e2d77d483f75db985b883cbd040b0fe8)]]&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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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)&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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Generally speaking, this style was created by Chen Wangting (1580 - 1660) who combined the ideology of Chinese traditional Yin and Yang with his ancestral Long Fist (Changquan) to create a new 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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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Yang Style was created by Yang Luchan (1800 - 1873) who loved learning martial arts in his childhood. He learned Tai Chi from Chen Changxing and cultivated his own style which was divided into Small Frame (Xiaojia) and Big Frame (Dajia). As he could flexibly avoid being attacked and attack the opponents, Yang Luchan was well-known for his own styles which were called “Soft Style” and “Melt Style”. These styles are characterized by “natural movements, continuity, and flexibility” as well as the distinctive and beautiful manner combining strength and softness. People of all ages, genders and physical conditions can choose it as a way to keep healthy and strengthen the body. As a result, Yang Style has been the most widespread and the most popular style out of the bunch, which has been learned by nearly 0.3 billion people throughout the world.&lt;br /&gt;
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''' (3) Wu Style (by Wu Yuxiang) '''&lt;br /&gt;
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Created in the end of the Qing Dynasty (1644 - 1911), it belongs to the traditional Chinese Tai Chi. Different from the Chen and Yang styles, Wu Style stresses the spirit and energy. Its features are to change styles as the opponents change, to attack by the accumulated strength and to also achieve inner strength rather than the merely physical strength. It is suitable for the literates because it lays emphasis on the hands never lifting over the eyebrows, feet never reaching far out and each hand only control one half of the body. Additionally, the steps are overlapped and the feet move as if creating calligraphy. &lt;br /&gt;
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''' (4) Wu Style (by Wu Jianquan) '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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Additionally, there are many other branches, such as Regimen Tai Chi, Wudang Tai Chi, Eight-Diagram Tai Chi, South Area Style, Wuqing Style and others. Wudang Style, combing the martial arts and fitness ideology, is beneficial to improve people’s intelligence and strengthen the physical qualities. South Area Style emphasizes the skills and the elegant shapes, while Wuqing Style focuses on the soft attack style hidden in the strength.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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Most of the research on Tai Chi has been done in older individuals in the area of balance and fall prevention. This area of research is important because fall-related injuries are the leading cause of death from injury and disability among older adults.&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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One study looked at adults in their 60s and 70s who practiced tai chi three times a week for 12 weeks (60-minute classes). These adults were given a battery of physical-fitness tests to measure balance, muscular strength and endurance, and flexibility before and after the 12 weeks. After just six weeks, statistically significant improvements were observed in balance, muscular strength, endurance, and flexibility measures.&lt;br /&gt;
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The authors of the study concluded that Tai Chi is a potent intervention that improved balance, upper- and lower-body muscular strength and endurance, and upper- and lower-body flexibility in older adults. The research showed that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)&lt;br /&gt;
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''' (4) Aerobic Capacity '''&lt;br /&gt;
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Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. In another meta-analysis study, researchers looked at seven studies focusing on the effects of tai chi on aerobic capacity in adults (average age 55 years). 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. (Feng 2019, 87-90)&lt;br /&gt;
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--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)&lt;br /&gt;
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''' (5) Chronic Illnesses Prevention and Respiratory System Regulation '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132) Moreover, breathing is one of the three parts of Tai Chi. The deep breathing also helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Five. They are physical and mental health, balance and fall prevention, strength and endurance, aerobic capacity, chronic illness prevention and respiratory system regulation.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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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.→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.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 06:25, 16 June 2021 (UTC)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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春秋战国: the Spring and Autumn Period and the Warring States Period--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:03, 15 June 2021 (UTC)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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“love of pushing with horns” or “preference for goring”--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:16, 15 June 2021 (UTC)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Frolics of the Five Animals&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Frolics of the Five Animals&amp;quot; is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the &amp;quot;Five Animal-Frolics&amp;quot; can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What animals does Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.What kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the characteristics of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
==Introduction==&lt;br /&gt;
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.&lt;br /&gt;
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==History==&lt;br /&gt;
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe was called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, there are two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:&lt;br /&gt;
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, which is discovered to have existed since 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.&lt;br /&gt;
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===The Development of Cultivation Technology===&lt;br /&gt;
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]&lt;br /&gt;
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.&lt;br /&gt;
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.&lt;br /&gt;
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)&lt;br /&gt;
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.&lt;br /&gt;
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.&lt;br /&gt;
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.&lt;br /&gt;
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.&lt;br /&gt;
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===The Kind of Crops===&lt;br /&gt;
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.&lt;br /&gt;
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.&lt;br /&gt;
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”&lt;br /&gt;
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.&lt;br /&gt;
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.&lt;br /&gt;
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===The Land Ownership System===&lt;br /&gt;
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.&lt;br /&gt;
In primitive society, land belonged to the whole tribe and people worked together.&lt;br /&gt;
In Shan Dynasty and Zhou Dynasty, the &amp;quot;Nine Squares&amp;quot; system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.&lt;br /&gt;
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned. &lt;br /&gt;
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.&lt;br /&gt;
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Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture eats up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
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农耕文明：the Cultivation Culture &lt;br /&gt;
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渔猎文明：the Fishing-Hunting Culture&lt;br /&gt;
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游牧文明：Nomadic Civilization&lt;br /&gt;
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 两河流域（长江和黄河）：Two-River-Drainage Area &lt;br /&gt;
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炎帝（神农）: Emperor Fire(Shen Nong) &lt;br /&gt;
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五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.&lt;br /&gt;
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河姆渡文明：the Hemudu Culture&lt;br /&gt;
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半坡文明：the Banpo Culture&lt;br /&gt;
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耧车:Louche, an animal-drawn seed plough&lt;br /&gt;
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曲辕犁(Quyuanli)： Crankshaft&lt;br /&gt;
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翻车(Fanche)：Turn-over Water Wheel&lt;br /&gt;
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筒车：Tongche(literation, “che” refers to wheeled machine)&lt;br /&gt;
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育秧移植栽培：Seedling Transplanting Cultivation&lt;br /&gt;
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都江堰：the Dujiang Dam&lt;br /&gt;
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《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi&lt;br /&gt;
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《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie&lt;br /&gt;
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《农书》王祯：Agricultural Book,written by Wang Zhen&lt;br /&gt;
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《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi &lt;br /&gt;
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《茶经》：The Classic on Tea&lt;br /&gt;
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西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.&lt;br /&gt;
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占城稻：Zhan City rice&lt;br /&gt;
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24节气：twenty-four solar terms&lt;br /&gt;
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井田制：the Nine Squares system&lt;br /&gt;
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土地私有制：The land private-owning system&lt;br /&gt;
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均田制：Land Equalization Policy&lt;br /&gt;
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==References==&lt;br /&gt;
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”&lt;br /&gt;
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[2] 《淮南子•修务训》：“古者，民茹草饮水， 采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷， 相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此 之时，一日而遇七十毒。”&lt;br /&gt;
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[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活&lt;br /&gt;
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[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57. &lt;br /&gt;
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[5]中国古代农业技术的进步发展&lt;br /&gt;
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[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html&lt;br /&gt;
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[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.&lt;br /&gt;
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[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.&lt;br /&gt;
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[9]古代水利工具 翻车 筒车示意图&lt;br /&gt;
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[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名&lt;br /&gt;
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[11]王璞 西域英译考辨 2017&lt;br /&gt;
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==Question==&lt;br /&gt;
1. What is the land ownership system in Tang Dynasty?&lt;br /&gt;
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2. When did the high-yield crop come to China?&lt;br /&gt;
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3. Did Bi Lan invent Fanche?&lt;br /&gt;
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4. What are the last two of the four great agricultural books according to the time?&lt;br /&gt;
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==Answer==&lt;br /&gt;
1.the Land Private-Owning System and Land Equalization Policy.&lt;br /&gt;
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2.In Ming Dynasty.&lt;br /&gt;
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3.Yes.&lt;br /&gt;
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4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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The Ancient Chinese literature &amp;quot;Shan Hai Jing&amp;quot;, also known as &amp;quot;The Classic of Mountains and Seas&amp;quot; and &amp;quot;The Classic of Great Wilderness&amp;quot;, 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.&lt;br /&gt;
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As for the content, it is not a narrative. The &amp;quot;plot&amp;quot; involves detailed descriptions of locations in the general direction of the &amp;quot;Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness&amp;quot;. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of &amp;quot;The Classic of Mountains and Seas&amp;quot; progress very much like a travelogue, with each section focusing on a 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 which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands &amp;quot;beyond the sea&amp;quot;. In general, it functions as a guide, through which we can know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
Who wrote the book and when it was written are 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 following generations. (Yang Xinghui / Luo Dahe 2016: 66,73)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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 known 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)&lt;br /&gt;
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Here are some images and brief introductions to some typical mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
The earliest reference to &amp;quot;the Classic of Mountains and Seas&amp;quot; in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of &amp;quot;the Classic of Mountains and Seas&amp;quot; in the traditional Chinese civilization. Hence, since Liu Xiu of the Han Dynasty complied &amp;quot;the table of the Classic of Mountains and Seas&amp;quot; and Guo Pu of the Jin Dynasty made the first note about &amp;quot;the Classic&amp;quot;, scarcely had there been someone studying the book. Then, in the early twentieth century, the concept of &amp;quot;mythology&amp;quot; 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 &amp;quot;the Classic&amp;quot;. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of &amp;quot;Chinese mythology&amp;quot;.  (Chen Shuai 2013: 209)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
&amp;quot;The Classic of Mountains and Seas&amp;quot; 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. &amp;quot;The Classic&amp;quot; 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 techniques of the early Chinese novels.(Xiang Wei 2021: 25-26)&lt;br /&gt;
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==References==&lt;br /&gt;
[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 &amp;quot;the Classic of Mountains and Seas&amp;quot; on the later literature ]. “文学研究”Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.&lt;br /&gt;
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[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in &amp;quot;The Classic of Mountains and Seas&amp;quot;]. “瓦莱拉克社会科学杂志”Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.&lt;br /&gt;
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[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 &amp;quot;the Classic of Mountains and Seas&amp;quot;]. “现代交际” Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of &amp;quot;the Classic of Mountains and Seas&amp;quot;]. “学理论” Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.&lt;br /&gt;
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[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of &amp;quot;the Classic of Mountains and Seas&amp;quot;][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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18 sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of &amp;quot;the Classic&amp;quot;.&lt;br /&gt;
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Corrector--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 15:14, 15 June 2021 (UTC)&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
&lt;br /&gt;
②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
&lt;br /&gt;
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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
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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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
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[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
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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).&lt;br /&gt;
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==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
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Neolithic Age 新石器时代&lt;br /&gt;
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Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
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Die in one’s bed 寿终正寝&lt;br /&gt;
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The Rites of Zhou 周礼&lt;br /&gt;
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The Book of Rites 礼记&lt;br /&gt;
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Immortality of the soul 灵魂不灭&lt;br /&gt;
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Maishui 买水&lt;br /&gt;
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Being buried to rest 入土为安&lt;br /&gt;
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Burial in Earth 土葬&lt;br /&gt;
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Cremation 火葬&lt;br /&gt;
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Sky Burial \ Celestial burial 天葬&lt;br /&gt;
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Water Burial 水葬&lt;br /&gt;
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Bird-giving 施鸟&lt;br /&gt;
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Water burial of whole bodies 整尸水葬&lt;br /&gt;
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Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
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[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
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[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210602_culture&amp;diff=123444</id>
		<title>20210602 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210602_culture&amp;diff=123444"/>
		<updated>2021-06-16T06:12:17Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wú Xīnxīn 吴欣欣 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
所以宁荣二府之人，都得人手。因这媳妇妖调异常，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
这媳妇是旧友，一说便成。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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”，&lt;br /&gt;
更有无限恩爱，自不必细说。&lt;br /&gt;
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 &amp;quot;the Mattress&amp;quot;(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye &amp;quot;the Mattress&amp;quot; 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, &amp;quot;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.” &amp;quot;You’re my goddess,&amp;quot; he panted, going all out. What do I care for any other goddess?&amp;quot; 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 &amp;quot;saw off&amp;quot; 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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;the Mattress&amp;quot;(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye &amp;quot;the Mattress&amp;quot; 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, &amp;quot;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.” &amp;quot;You’re my goddess,&amp;quot; he panted, going all out. What do I care for any other goddess?&amp;quot; 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 &amp;quot;saw off&amp;quot; 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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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，&lt;br /&gt;
你赏我罢，我再不敢赌狠了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
背后，只望着平儿杀鸡抹脖使眼色，求他遮盖。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;What's this?&amp;quot; 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: &amp;quot;Fair girl, please do me a favour, I won't make an act of sheer bravado.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;Fair girl, do not let her know!&amp;quot; Sister Phoenix had entered when Patient rose up. Sister Phoenix ordered Patient: &amp;quot;Get the patterns out of that box for the mistress, quick.&amp;quot; Patience promised quickly. When she was finding the patterns, Sister Phoenix saw Romance Merchant and she suddenly remembered something and asked Patience: &amp;quot;Have you taken in all the things that were taken out?&amp;quot; &amp;quot;Yes, I brought them all in.&amp;quot; &amp;quot;Anything lost?&amp;quot; &amp;quot;I checked carefully and nothing disappeared.&amp;quot; &amp;quot;Anything new appeared?&amp;quot; Patience smiled: &amp;quot;It is normal to check whether anything was lost, how could it be that anything new appears?&amp;quot; Sister Phoenix smiled: &amp;quot;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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
平儿只作看不见，因笑道：“怎么&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
着。”说着，拿了样子出去了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
牙道：“没良心的，‘过了河儿就拆桥’，明儿还想我替你撒谎呢！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
也不许他见人！”&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Dèng Dān 邓丹=&lt;br /&gt;
平儿道：“他醋你使得，你醋他使不得，他原行的正，走的正，你&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
知何事，且听下回分解。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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.&amp;quot;&lt;br /&gt;
“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&amp;quot;, 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)&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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.&amp;quot;&lt;br /&gt;
“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&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
◎第二十二回 听曲文宝玉悟禅机  制灯谜贾政悲谶语&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了，不在话下。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
针线活计取来，为宝钗生辰之仪。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
‘??’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&lt;br /&gt;
嘴！”说着，又引贾母笑了一会。贾母十分喜悦。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After living in Jia's house for two days, Fragrant-cloud History was about to go back. Grandma Merchant said, &amp;quot;after Precious Jade Merchant's birthday, after watching the opera, I'll go back.&amp;quot; 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.&lt;br /&gt;
 &lt;br /&gt;
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: &amp;quot;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? &amp;quot; All the talk made the house laugh. &amp;quot;Listen to this,&amp;quot; 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. &amp;quot; Splendid Phoenix King said with a smile, &amp;quot;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!&amp;quot; She said, and made the lady laugh for a while. Grandma Merchant was very happy.&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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、&lt;br /&gt;
凤姐、黛玉等诸人皆有随分的，不须细说。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
咱们的光儿。”一面说，一面拉他起来，携手出去。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
《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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
俱各点了，按出扮演。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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？&lt;br /&gt;
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&lt;br /&gt;
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’，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
念道：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
钵随缘化！&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant said:&amp;quot; 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.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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:&amp;quot; You order plays like only this kind of plays.&amp;quot; Precious Hairpin replied:&amp;quot; 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.&amp;quot; Precious Jade said:&amp;quot; I have ever been afraid of such lively opera plays.&amp;quot; Precious Hairpin said with a smile:&amp;quot; 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!&amp;quot; Hearing that it was thought highly, Precious Jade came closed to her and begged her:&amp;quot; Good sister, please you read it for me.&amp;quot; Precious Hairpin read:&amp;quot; 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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
散。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
人听了这话，留神细看，都笑起来了，说“果然像得狠！”一时散了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
十个人，与我何干呢！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;There is no book that you don't know!&amp;quot; &amp;quot;Be quiet! and listen to the play,&amp;quot; Mascara Jade Forest urged, &amp;quot;they haven't sung about the 'mountain gate' yet and you already 'pretend to be mad'!&amp;quot; At these words, Fragrant-cloud also laughed. Therefore, the whole party watched the performance until evening and they broke up.&lt;br /&gt;
&lt;br /&gt;
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?&amp;quot; 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, &amp;quot;He resembles Cousin Forest's face!&amp;quot; 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: &amp;quot;They really look alike!&amp;quot; they exclaimed. After a while, they parted.&lt;br /&gt;
&lt;br /&gt;
When evening came, Fragrant-cloud directed Kingfisher to pack up her clothes. &amp;quot; What is in the hurry?&amp;quot; Kingfisher asked, &amp;quot; they will have time to pack up on the day we left.&amp;quot; &amp;quot;We will left tomorrow morning,&amp;quot; Fragrant-cloud rejoined, &amp;quot;for what the point is to stay here and have to look at people's mouths and faces!&amp;quot; At these words, Precious Jade pressed forward and urged: &amp;quot;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!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant was so much into the young actor who played the role of a lady as well as the one who acted like a buffoon, so she gave orders to bring them in, and as she looked them closely, she felt much more interest in 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 bring some fresh fruits and meats for both of them and also gave them two times 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?&amp;quot; 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, &amp;quot;He resembles Cousin Forest's face!&amp;quot; When this remark reached Precious Jade's ear, he cast 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: &amp;quot;They really look alike!&amp;quot; they exclaimed. After a while, they parted.&lt;br /&gt;
&lt;br /&gt;
When evening came, Fragrant-cloud directed Kingfisher to pack up her clothes. &amp;quot; What is in the hurry?&amp;quot; Kingfisher asked, &amp;quot; they will have time to pack up on the day we left.&amp;quot; &amp;quot;We are going to leave tomorrow morning,&amp;quot; Fragrant-cloud rejoined, &amp;quot;for what the point is to stay here and have to look at people's mouths and faces!&amp;quot; At these words, Precious Jade pressed forward and urged: &amp;quot;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 give offense 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 offense to even ten, and that would have been none of my business!&amp;quot;--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 12:20, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
湘云摔手道：“你那花言巧语，别望着我说。我也原不如&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
叫我啐你。”说着，至贾母里间屋里，忿忿的躺着去了。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
垂头不语。袭人早知端的，当此时，再不能劝。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
比不笑，比人家比了笑了的还利害呢！”宝玉听说，无可分辩。&lt;br /&gt;
&lt;br /&gt;
Fragrant-cloud waved him crossly away. &amp;quot;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?&amp;quot; &amp;quot;I was only thinking of you, yet now you put me in the wrong.&amp;quot; Precious Jade was desperate. &amp;quot;If I meant any harm, may I tum into dust this instant and be trampled on by ten thousand feet!&amp;quot; &amp;quot;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!&amp;quot; She flounced off to the Lady Dowager's inner room and threw herself down angrily on a couch.&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;Dear cousin!&amp;quot; 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. &lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;There's always a reason for everything,&amp;quot; he said. &amp;quot;If you'd explain, people wouldn't feel so hurt. What's upset you suddenly?&amp;quot; &amp;quot;A fine question to ask!&amp;quot; Mascara Jade gave a short laugh. &amp;quot;I don't know. For you I'm a figure of fun, to be compared with an actress in order to raise a laugh. &amp;quot; &amp;quot;But why be angry with me? I didn't make the comparison. I didn't laugh. &amp;quot; &amp;quot;I should hope not, indeed! But what you did was even worse than the others laughing and making comparisons.&amp;quot; Precious Jade did not know how to defend himself and was silent.&lt;br /&gt;
&lt;br /&gt;
Fragrant-cloud waved him crossly away. &amp;quot;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 respected young lady, I'm a slave-how dare I offend her?&amp;quot; &amp;quot;I was only thinking of you, yet now you put me in the wrong.&amp;quot; Precious Jade was desperate. &amp;quot;If I meant any harm, may I tum into dust this instant and be trampled on by ten thousand feet!&amp;quot; &amp;quot;Stop talking such nonsense right 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!&amp;quot; She flounced off to the Lady Dowager's inner room and threw herself down angrily on a couch.&lt;br /&gt;
&lt;br /&gt;
After this snub Precious Jade went to look for Mascara Jade, but scarcely had he set foot in her room when she pushed him out and closed the door in his face. Mystified, he called in a subdued voice through the window: &amp;quot;Dear cousin!&amp;quot; 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. &lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;There's always a reason for everything,&amp;quot; he said. &amp;quot;If you'd explain, people wouldn't feel so hurt. What's upset you suddenly?&amp;quot; &amp;quot;A fine question!&amp;quot; Mascara Jade gave a short laugh. &amp;quot;I don't know. For you I'm a figure of fun, to be compared with an actress in order to amuse others. &amp;quot; &amp;quot;But why are you angry with me? I didn't make the comparison. I didn't laugh. &amp;quot; &amp;quot;I should hope not, indeed! But what you did was even worse than the others laughing and making comparisons.&amp;quot; Precious Jade did not know how to defend himself and was silent.--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 08:39, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
黛玉又道：“这一&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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’。&lt;br /&gt;
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？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
去，一辈子也别来了，也别说话！”&lt;br /&gt;
    &lt;br /&gt;
那宝玉不理，竟回来，躺在床上，只是闷嗗咄的。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud,&amp;quot; Mascara Jade went on. &amp;quot;Just what did you mean by that?&amp;quot; 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.&amp;quot; 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?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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:&amp;quot;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.&amp;quot; And again:&amp;quot; Mountain trees are the first to be falled, clear fountains the first to be consumed.&amp;quot; The more he thought the more depressed he grew. &amp;quot;If I can't even cope now with just these two, what will it be like in the future?&amp;quot; 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.&amp;quot; Go then!&amp;quot; she cried.&amp;quot; And don't ever come back! Don't speak to me again!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Precious Jade paid no attention. Returning to his room, he lay down on his bed starting fixedly before him.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud,&amp;quot; Mascara Jade went on. &amp;quot;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.&amp;quot; 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?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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:&amp;quot;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.&amp;quot; And again:&amp;quot; Mountain trees are the first to be fell, clear fountains the first to be consumed.&amp;quot; The more he thought the more depressed he grew. &amp;quot;If I can't even cope now with just these two, what will it be like in the future?&amp;quot; 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.&amp;quot; Go then!&amp;quot; she cried.&amp;quot; And don't ever come back! Don't speak to me again!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Precious Jade had no response, and returned to his room,laid down on his bed starting fixedly before him.    ——Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
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：&lt;br /&gt;
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。&lt;br /&gt;
Aroma knew the reasons, but she feared speaking out, so explained other things. So she smiled,&amp;quot;I saw the play today,and I will space several other days to see play. Precious Hairpin Marshgrass must come.&amp;quot; Precious Jade Merchant sneered: &amp;quot;Whether she come or not come, it is matter for me?&amp;quot; Aroma felt the words did not seem to be his usual tone, so she laughed again, &amp;quot;Why did you say that? In the first lunar month, the ladies and sisters are all happy. Why do you do this?&amp;quot; Precious Jade Merchant sneered, &amp;quot;It is nothing to do with me whether your ladies or sisters are happy or not.&amp;quot; Aroma said with a smile, &amp;quot;They will be easygoing, and you will be easygoing. And you all are happy together?&amp;quot; Precious Jade Merchant said, &amp;quot;Each other? They have intimate relationship but I'm just excluded and have no relationship with them.&amp;quot; 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:&lt;br /&gt;
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 &amp;quot;parasitic grass&amp;quot; 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, &amp;quot;He has been already asleep.&amp;quot; Hearing this, Mascara Jade Forest wanted to go back, but Aroma said with a smile, &amp;quot;Girl, please stand here. I have a post and would like you see what it is.&amp;quot; Then Aroma read to Mascara Jade Forest what Precious Jade Merchant had just written.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Aroma knew the reasons, but she feared speaking out, so explained other things. So she smiled, &amp;quot;I saw the play today, and I will space several other days to see the play. Precious Hairpin Marshgrass must come.&amp;quot; Precious Jade Merchant sneered: &amp;quot;Whether she come or not come, it is a matter for me?&amp;quot; Aroma felt the words did not seem to be his usual tone, so she beamed again: &amp;quot;Why did you say that? In the first lunar month, the ladies and sisters are all happy. Why do you do this?&amp;quot; Precious Jade Merchant sneered, &amp;quot;It is nothing to do with me whether your ladies or sisters are happy or not.&amp;quot; Aroma said with a smile, &amp;quot;They will be easygoing, and you will be easygoing. And you all are happy together?&amp;quot; Precious Jade Merchant said: &amp;quot;Each other? They have an intimate relationship but I'm just excluded and have no relationship with them.&amp;quot; While Speaking of this sentence, he can't help crying. Seeing this, Aroma dare not say anything anymore. 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:&lt;br /&gt;
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 &amp;quot;parasitic grass&amp;quot; after the chapter. After reading it again, he felt that he was relaxed and went to sleep. It is beyond imagination that Mascara Jade Forest saw Precious Jade Merchant decisively left. So she pretended to seek Aroma but in fact to see Precious Jade Merchant. Aroma replied, &amp;quot;He has been already asleep.&amp;quot; Hearing this, Mascara Jade Forest wanted to go back, but Aroma said with a smile: &amp;quot;Miss, please stand here. I have a post and would like you to see what it is.&amp;quot; Then Aroma read what Precious Jade Merchant had just written to Mascara Jade Forest.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:23, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
黛玉看了，知宝玉为一时感忿&lt;br /&gt;
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&lt;br /&gt;
回房去，与湘云同看。次日，又与宝钗看，宝钗念其词曰：&lt;br /&gt;
          &lt;br /&gt;
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&lt;br /&gt;
说甚亲疏密？从前碌碌却因何？到如今，目头试想真无趣！&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
个痴心邪说。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
‘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&lt;br /&gt;
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，&lt;br /&gt;
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：&lt;br /&gt;
“无立足境，方是干净。”&lt;br /&gt;
&lt;br /&gt;
Daiyu watched, and knows that it was baoyu’s work with angry, so she smiled and plaint. And she said to Xiren: &amp;quot; Well it's an interesting thing, just let him go.&amp;quot; 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: &lt;br /&gt;
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: &amp;quot;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.&amp;quot;As she said, baochai tore it to pieces, handed it to servant girls, and said：&amp;quot;Burn it up, hurry up.&amp;quot; &amp;quot;No, you shouldn’t tear it. Wait, I’ll ask him. Come with me, he will not say that again.&amp;quot;Daiyu said with a smile.&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot; Well it's an interesting thing, just let him go.&amp;quot; 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: &lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;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.&amp;quot;As she said, Precious Hairpin tore it into pieces, handed it to servant girls, and said：&amp;quot;Burn them up, hurry up.&amp;quot; &amp;quot;No, you shouldn’t tear it. Wait, I’ll ask him. Come with me. He will not have such ideas again.&amp;quot;Mascara Jade said with a smile.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
宝钗道：“实在这方悟彻。当日南宗六祖惠能，初寻师&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
旧。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
纱灯，专为灯谜而制，上面已有了一个，众人都争看乱猜。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
小太监又下谕道：“众&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
人拈一物作成一谜，恭楷写了，挂于灯上。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
什么。”众人听了，都来看他作的是什么，写道：&lt;br /&gt;
        &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
了，领茶而去。&lt;br /&gt;
    &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
间又一席。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
坦然自若。故此一席，虽是家常取乐，反见拘束。&lt;br /&gt;
    &lt;br /&gt;
贾母亦知因贾政一人在此所致，酒过三巡，便撵贾政去歇息。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
Master Merchant failed to see Chia Lan, and he therefore inquired: &amp;quot;How is it I don't see brother Lan,&amp;quot; whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Li. &amp;quot;He says,&amp;quot; Mrs. Li stood up and rejoined with a smile, &amp;quot;that as your master didn't go just then to ask him round, he has no wish to come!&amp;quot; and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: &amp;quot;How obstinate and perverse his natural disposition is!&amp;quot; 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.&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
Master Merchant failed to see Orchid Merchant, and he therefore inquired: &amp;quot;How is it I don't see brother Orchid,&amp;quot; whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Plum. &amp;quot;He says,&amp;quot; Mrs. Plum stood up and rejoined with a smile, &amp;quot;that as your master didn't go just then to ask him round, he has no wish to come!&amp;quot; and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: &amp;quot;How obstinate and perverse his natural disposition is!&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
贾政亦知贾&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
也要领赏呢！”贾母道：“这个自然。”便念道：&lt;br /&gt;
        &lt;br /&gt;
猴子身轻站树梢——打一果名。&lt;br /&gt;
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，&lt;br /&gt;
然后也念一个灯谜与贾母猜，念道：&lt;br /&gt;
&lt;br /&gt;
身自端方，体自坚硬。虽不能言，有言必应——打一用物。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
起身走至屏前，只见第一个是元妃的，写着道：&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
灰——打一物。&lt;br /&gt;
贾政道：“这是爆竹呢。”宝玉答道：“是。”&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;Today I heard that mom set the spring lantern riddles, so I also prepared wonderful gifts and banquets for the party. Why don't you give your son a little of your love for your grandchildren?&amp;quot; Grandma Merchant laughed, &amp;quot;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.&amp;quot; Master Merchant smiled at once, &amp;quot;Of course. But if I guess out, don't forget to give me the reward!&amp;quot; &amp;quot;That's for sure.&amp;quot; Then Grandma Merchant read,&lt;br /&gt;
&lt;br /&gt;
The light monkey stands on the treetop. The answer was a fruit name. &lt;br /&gt;
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.&lt;br /&gt;
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.”The female servant promised, and then presented the large and small boxes together on.Looking through each of them, Grandma Merchant was satisfied to find that all were new and clever things to play with during the Lantern Festival.So she ordered the servant to serve liqueur for her master.Precious Jade held the flagon and  Spring Pleasure sent the liqueur.&lt;br /&gt;
Grandma Merchant went on saying, &amp;quot;Look at that screen. It's all made by his sisters. Have a try again.&amp;quot; Master Merchant agreed,getting up and going to the screen, seeing that the first one was written by Princess First Spring.&lt;br /&gt;
&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 04:23, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;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?&amp;quot; Grandma Merchant laughed, &amp;quot;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 can’t guess out, you'll be punished.&amp;quot; Master Merchant smiled at once, &amp;quot;Of course. But if I can guess out, don't forget to give me the reward!&amp;quot; &amp;quot;That's for sure.&amp;quot; Then Grandma Merchant read,&lt;br /&gt;
&lt;br /&gt;
The light monkey stands on the treetop. The answer was a fruit name. &lt;br /&gt;
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.&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 23:39, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
贾政又看迎春的，道：&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
贾政道：“是算盘。”迎春笑道：“是。”又往下看，是探春的，道：&lt;br /&gt;
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&lt;br /&gt;
离——打一物。&lt;br /&gt;
&lt;br /&gt;
贾政道：“好像风筝。”探春道：“是。”贾政再往下看，是黛玉的，道：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
变迁——打一物。&lt;br /&gt;
贾政道：“这个莫非是更香？”宝玉代言道：“是。”&lt;br /&gt;
&lt;br /&gt;
贾政又看道：&lt;br /&gt;
南面而坐，北面而朝，“象忧亦忧，象喜亦喜”——打一物。&lt;br /&gt;
贾政道：“好，好！如猜镜子，妙极！”宝玉笑回道：“是。”&lt;br /&gt;
&lt;br /&gt;
贾政道：“这一个却无名&lt;br /&gt;
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&lt;br /&gt;
钗的，道是：&lt;br /&gt;
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&lt;br /&gt;
冬——打一物。&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
Master Merchant move on to read Spring Pleasure’s: &lt;br /&gt;
&lt;br /&gt;
No end to the labour of men, to heaven’s decrees,&lt;br /&gt;
But labour unblessed by Heaven will fruitless be.&lt;br /&gt;
What causes this constant, frenzied activity?&lt;br /&gt;
The uncertainty of mortal destiny.&lt;br /&gt;
&lt;br /&gt;
“An abacus?” Spring Pleasure agreed with a smile. Master Merchant read the next riddle:&lt;br /&gt;
&lt;br /&gt;
The children by the steps look up:&lt;br /&gt;
Spring surely has no fitter decoration.&lt;br /&gt;
But when the silk cord breaks it drifts away,&lt;br /&gt;
Blame not the east wind for this separation.&lt;br /&gt;
&lt;br /&gt;
“That sounds like a kite,” said Master Merchant. When Seeking Spring had confirmed this he looked at another riddle by Mascara Jade:&lt;br /&gt;
&lt;br /&gt;
Who leaves the levee with smoke-scented sleeves?&lt;br /&gt;
Not destined by the lute or quilt to sit,&lt;br /&gt;
It needs no watchman to announce the dawn,&lt;br /&gt;
No maid at the fifth watch to replenish it.&lt;br /&gt;
Burned with anxiety both day and night,&lt;br /&gt;
Consumed with anguish as time slips away,&lt;br /&gt;
As life speeds past we learn to hold it dear—&lt;br /&gt;
What cares it whether foul or fair the day?&lt;br /&gt;
&lt;br /&gt;
“Is it incense?” Precious Jade said for Mascara Jade: “Yes.” &lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
Master Merchant move on to read Spring Pleasure's riddle: &lt;br /&gt;
&lt;br /&gt;
No end to the labor of men, to heaven’s decrees,&lt;br /&gt;
But labor unblessed by Heaven will fruitless be.&lt;br /&gt;
What causes this constant, frenzied activity?&lt;br /&gt;
The uncertainty of mortal destiny.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;An abacus?&amp;quot; Spring Pleasure agreed with a smile. Then, Master Merchant read the next riddle:&lt;br /&gt;
&lt;br /&gt;
The children by the steps look up:&lt;br /&gt;
Spring surely has no fitter decoration.&lt;br /&gt;
But when the silk cord breaks it drifts away,&lt;br /&gt;
Blame not the east wind for this separation.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;That sounds like a kite,&amp;quot; said Master Merchant.Seeking Spring confirmed his answer, and so he moved on to look at another riddle by Mascara Jade:&lt;br /&gt;
&lt;br /&gt;
Who leaves the levee with smoke-scented sleeves?&lt;br /&gt;
Not destined by the lute or quilt to sit,&lt;br /&gt;
It needs no watchman to announce the dawn,&lt;br /&gt;
No maid at the fifth watch to replenish it.&lt;br /&gt;
Burned with anxiety both day and night,&lt;br /&gt;
Consumed with anguish as time slips away,&lt;br /&gt;
As life speeds past we learn to hold it dear—&lt;br /&gt;
What cares it whether foul or fair the day?&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Is it incense?&amp;quot; &amp;quot;Yes,&amp;quot;said Precious Jade. &lt;br /&gt;
&lt;br /&gt;
The emperor faces the north while ministers face the south&lt;br /&gt;
Looks like gloom and it is gloom&lt;br /&gt;
Looks like happiness and it is happiness&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Good! It's a mirror!&amp;quot; Precious Jade smiled and said &amp;quot;Yes&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Master Merchant said,&amp;quot; There is one without a name on it. Who made it?&amp;quot; Grandma Merchant said, &amp;quot; Maybe it was made by Precious Jade.&amp;quot; Master Jade said no words and moved on to read the one made by Precious Hairpin.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;yes&amp;quot; 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.&lt;br /&gt;
 &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;yes&amp;quot; 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.&lt;br /&gt;
 &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
◎第二十三回 西厢记妙词通戏语  牡丹亭艳曲警芳心&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
唤来监工。一日烫蜡钉朱，动起手来。这也不在话下。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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：&lt;br /&gt;
“倒是提醒了我。就是这样。”即时唤贾琏。&lt;br /&gt;
&lt;br /&gt;
After First Spring Merchant’s return to the Palace from her visit to the 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 Grand View Gardens a lasting memorial to that splendid occasion. Master Merchant accordingly ordered skilled artisans to polish and engrave the stones under the supervision of Treasure Merchant, assisted by Prosperity Merchant and Lemna Merchant. As Rose Merchant had his hands full looking after the twelve actresses and their properties, he asked Gladiolus Merchant and Caltrop Merchant 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.&lt;br /&gt;
&lt;br /&gt;
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 Celery 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 Sister Phoenix’s help. As this woman was normally unassuming, Sister Phoenix 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 Romance Merchant.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 07:01, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After First Spring Merchant’s return to the Palace from her visit to the 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 Grand View Gardens a lasting memorial to that splendid occasion. Master Merchant accordingly ordered skilled artisans to polish and engrave the stones under the supervision of Treasure Merchant, assisted by Prosperity Merchant and Lemna Merchant. As Rose Merchant had his hands full looking after the twelve actresses and their properties, he asked Gladiolus Merchant and Caltrop Merchant 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.&lt;br /&gt;
&lt;br /&gt;
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 Celery 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 Sister Phoenix’s help. As this woman was normally unassuming, Sister Phoenix 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 Romance Merchant.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 23:37, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
一口，低下头便吃饭。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
来见贾琏夫妻，感谢不尽。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 04:42, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
凤姐又做情先支三个月的费用，叫他写了领字，贾琏&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
上车子，一径往城外铁槛寺去了。当下无话。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“命宝钗等在园中居住，不可封锢，命宝玉也随进去读书。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
色，便拉着贾母，扭的扭股儿糖似的，死也不敢去。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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,&lt;br /&gt;
&lt;br /&gt;
			When lovely woman smiles not,&lt;br /&gt;
			All Nature’s charms ate dead.&lt;br /&gt;
&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
	&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 17:02, 8 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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 ‘Do you buy yourselves a cup of tea ?’. Then he ordered a boy to carry the money back home for him, and after taking counsel with his mother. At that moment, he rented several chariots and when rounded to the side gate of the Rongguo Mansion, he called forth the twenty-four people and packed them all inside. Then they set off for the Temple of the Iron Threshold outside the city. Nothing to say at that time.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 15:23, 15 June 2021 (UTC)&lt;br /&gt;
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=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
贾母只得安慰他道：“好宝&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
老子唬着他。”老姥嬷答应了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
来，惟有探春、惜春和贾环站了起来。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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；&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
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=Wáng Zǐhán 王子涵=&lt;br /&gt;
半&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
等吃饭呢。”&lt;br /&gt;
&lt;br /&gt;
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!”&lt;br /&gt;
&lt;br /&gt;
“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. &lt;br /&gt;
 &lt;br /&gt;
Stroking her son’s neck fondly Lady Wang asked:“Have you finished those pills prescribed for you the other day?”&lt;br /&gt;
 &lt;br /&gt;
“All but one.”&lt;br /&gt;
 &lt;br /&gt;
“You must fetch ten more tomorrow. Get Aroma to see that you take one each evening at bedtime.”&lt;br /&gt;
&lt;br /&gt;
“Ever since you ordered it, madam, Aroma has been giving me one every evening.”&lt;br /&gt;
 &lt;br /&gt;
“Who is Aroma?” demanded Master Merchant.&lt;br /&gt;
 &lt;br /&gt;
“One of the maids,” his wife told him.&lt;br /&gt;
 &lt;br /&gt;
“A maid can be called anything, I suppose. But who thought up such a suggestive name for her?”&lt;br /&gt;
 &lt;br /&gt;
To shield Precious Jade from his father’s displeasure Lady Wang said, “It was the old lady’s idea.”&lt;br /&gt;
 &lt;br /&gt;
“Such a name would never occur to the old lady. This must have been Precious Jade’s doing.”&lt;br /&gt;
 &lt;br /&gt;
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.”&lt;br /&gt;
 &lt;br /&gt;
“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.”&lt;br /&gt;
 &lt;br /&gt;
“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.” &lt;br /&gt;
 &lt;br /&gt;
Then he said sternly to Precious Jade: “What are you standing there for, you unnatural monster?”&lt;br /&gt;
 &lt;br /&gt;
“Run along, “urged Lady Wang. “The old lady is probably waiting for you for supper.&lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:02, 10 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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!”&lt;br /&gt;
“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.”&lt;br /&gt;
“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)&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
香风，不似前番那等寂寞了。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
斗草簪花，低吟情唱，拆字猜枚，无所不至，倒也十分快意。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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.&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.While He just arrived at the entrance hail, he found Aroma leaning in the doorway. →While he just arrived at the entrance hail, he found Aroma leaning in the doorway. &lt;br /&gt;
&lt;br /&gt;
2.But no need to describe this in detail.→But there is no need to describe this in detail.&lt;br /&gt;
&lt;br /&gt;
3.He had a carefree life here.→He lives a carefree life here.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 06:11, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
他曾有几首四时即&lt;br /&gt;
事诗，虽不算好，却是真情真景。&lt;br /&gt;
“春夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
频。&lt;br /&gt;
            &lt;br /&gt;
“夏夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
妆。&lt;br /&gt;
            &lt;br /&gt;
“秋夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
茶。&lt;br /&gt;
            &lt;br /&gt;
“冬夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
烹。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
发得意，每日家做这些外务。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
那里知宝玉此时的心事？&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
the ballad on the spring night runs as follows：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
This is the description of the aspect of nature on a summer night：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
the landscape of an autumnal evening is thus depicted：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
the picture of a winter night is in this strain：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
But putting aside Precious Jade， 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？&lt;br /&gt;
&lt;br /&gt;
不说宝玉闲吟But putting aside Precious Jade Merchant， as he leisurely was occupied in scanning some verses， we will now allude to all these ballads.&lt;br /&gt;
 But putting aside Precious Jade's casual writing--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 15:42, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
那宝玉心内不自在，便懒在园内，只在外头鬼混，却又&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
上，无人时方看；那粗俗过露的，都藏于外面书房内。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
面，飘飘荡荡，竟流出沁芳闸去了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了好些在那里呢。”&lt;br /&gt;
That Precious Jade was uncomfortable in his heart, so he stayed lazily in the garden, only fooling around outside, but he was as in a trance.  And Tealeaf saw him like this. In order to make him happy，she racked her brains：Precious Jade was enough of all the playing things，only this one，Precious Jade had never seen it before.  After thinking about it, she went to the bookstore and bought Precious Jade a lot of ancient and modern novels, along with the &amp;quot;unofficial biographies&amp;quot;of Zhao Flying Swallow, Zhao Virtue, Empress Wu Zetian, and the Imperial Concubine Yang, and the romantic novels. Upon reading these books, Precious Jade  was as if gaining the most precious treasures. Tealeaf again ordered: &amp;quot;Don't take it into the garden. If someone knows it, I'll be in real trouble.&amp;quot;But would Precious Jade be willing not to bring the book into the garden？After hesitating four more times, he picked up only a few sets of the more highbrow ones, and put them on the top of the bed so that he can read them when there's no one else; the vulgar and indecent ones were all hidden in the outside study.&lt;br /&gt;
 That day was the middle of March. After breakfast, Baoyu brought a set of &amp;quot;The Story of Huizheng&amp;quot; and walked to the Qinfang Gate Bridge. Sitting on a stone under the peach trees, he opened &amp;quot;The Story of Huizheng&amp;quot; and carefully read it from the beginning. When he was seeing the &amp;quot;falling red（flowers）was piled&amp;quot;，a gust of wind passed, blowing down a big bucket of peach blossoms from the tree and Precious Jade’s whole body ，the entire ground and book were covered with flowers. Precious Jade was about to shake off the flowers, but he was afraid that his footsteps would trample them on, so he had to take the petals in clothes, come to the edge of the pool, and shook them into the pool.  The petals floated on the water, drifting, and flowed out of the Qinfang Gate. When he came back, he found there were many petals in the ground again. While Precious Jade was hesitating what to do with these petals，he heard someone behind him say: &amp;quot;What are you doing here?&amp;quot; Precious Jade turned around and found that was Mascara Jade，who came with a flower hoe on her shoulder, and a gauze-bag hung on that hoe，a flower broom was held in her hand. Precious Jade smiled and said: &amp;quot;Well, well, come and sweep these flowers up and put them in the water. I have just thrown lots of them there.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
That Precious Jade was uncomfortable in his heart, so he stayed lazily in the garden, only fooling around outside, but he was as in a trance. And Tealeaf saw him like this. In order to make him happy，she racked her brains：Precious Jade was enough of all the playing things，only this one，Precious Jade had never seen it before.  After thinking about it, she went to the bookstore and bought Precious Jade a lot of ancient and modern novels, along with the &amp;quot;unofficial biographies&amp;quot; of Flying Swallow Zhao, Virtue Zhao, Choice of Heaven Military, and the Imperial Concubine Yang, and the romantic novels. Upon reading these books, Precious Jade was as if gaining the most precious treasures. Tea Leaf again ordered: &amp;quot;Don't take it into the garden. If someone knows it, I'll be in real trouble.&amp;quot; But would Precious Jade be willing not to bring the book into the garden？After hesitating four more times, he picked up only a few sets of the more highbrow ones, and put them on the top of the bed so that he can read them when there's no one else; the vulgar and indecent ones were all hidden in the outside study.&lt;br /&gt;
 That day was the middle of March. After breakfast, Precious Jade brought a set of &amp;quot;The Story of Huizheng&amp;quot; and walked to the Intriguing Fragrance Gate Bridge. Sitting on a stone under the peach trees, he opened &amp;quot;The Story of Huizheng&amp;quot; and carefully read it from the beginning. When he was seeing the &amp;quot;falling red（flowers）was piled&amp;quot;，a gust of wind passed, blowing down a big bucket of peach blossoms from the tree and Precious Jade’s whole body ，the entire ground and book were covered with flowers. Precious Jade was about to shake off the flowers, but he was afraid that his footsteps would trample them on, so he had to take the petals in clothes, come to the edge of the pool, and shook them into the pool.  The petals floated on the water, drifting, and flowed out of the Intriguing Fragrance Gate. When he came back, he found there were many petals in the ground again. While Precious Jade was hesitating what to do with these petals，he heard someone behind him say: &amp;quot;What are you doing here?&amp;quot; Precious Jade turned around and found that was Mascara Jade，who came with a flower hoe on her shoulder, and a gauze-bag hung on that hoe，a flower broom was held in her hand. Precious Jade smiled and said: &amp;quot;Well, well, come and sweep these flowers up and put them in the water. I have just thrown lots of them there.&amp;quot;&lt;br /&gt;
----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
黛玉道：“撂在水里不好，你看这里的水干净，只一流出去，有&lt;br /&gt;
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&lt;br /&gt;
了，装在选绢袋里，埋在那里，日久随土化了，岂不干净。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
就把眼圈儿红了，转身就走。&lt;br /&gt;
‘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?’&lt;br /&gt;
Precious Jade was full of admiration for this idea.&lt;br /&gt;
‘Just let me put this book somewhere and I’ll give you a hand.’&lt;br /&gt;
‘What book?’ said Mascara Jade Forest.&lt;br /&gt;
‘Oh... The Doctrine of the Mean and The Greater Learning,’ he said, hastily concealing it.&lt;br /&gt;
‘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.’&lt;br /&gt;
‘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!’&lt;br /&gt;
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.&lt;br /&gt;
‘Well,’ said Precious Jade, ‘is it good?’&lt;br /&gt;
Mascara Jade smiled and nodded.&lt;br /&gt;
Precious Jade laughed:&lt;br /&gt;
&lt;br /&gt;
‘How can I, full of sickness and of woe,&lt;br /&gt;
Withstand that face which kingdoms could o’erthrow?’&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
‘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!’&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;It isn’t a good idea to tip them in the water,&amp;quot; said Mascara Jade Forest. &amp;quot;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?&amp;quot; Precious Jade was full of admiration for this idea. &amp;quot;Just let me put this book somewhere and I’ll give you a hand.&amp;quot; &amp;quot;What book?&amp;quot; said Mascara Jade Forest. &amp;quot;Oh... The Doctrine of the Mean and The Greater Learning,&amp;quot; he said, hastily concealing it. &amp;quot;Don’t try to fool me!&amp;quot; said Mascara Jade Forest, &amp;quot;You'd better let me look at it in the first place, instead of hiding it so guiltily.&amp;quot; &amp;quot;In your case,  I have nothing to be afraid of,&amp;quot; said Precious Jade, &amp;quot;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!&amp;quot; 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. &amp;quot;Well,&amp;quot; said Precious Jade, &amp;quot;is it good?&amp;quot; Mascara Jade smiled and nodded. Precious Jade laughed, &amp;quot;How can I, full of sickness and of woe, withstand that face which kingdoms could overthrow?&amp;quot;&lt;br /&gt;
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. &amp;quot;You’re hateful!&amp;quot;— she pointed a finger at him in angry accusal — &amp;quot;deliberately using that horrid play to take advantage of me. I’m going. straight off to tell Uncle and Aunt!&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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’&lt;br /&gt;
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&lt;br /&gt;
拾落花。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
玉听了，忙拿了书，别了黛玉，同袭人回房换衣不提。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
二十女孩子演习戏文。&lt;br /&gt;
Precious Jade got alarmed and stopped her, saying, &amp;quot;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. &amp;quot; Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, &amp;quot;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'.&amp;quot; Precious Jade laughed, &amp;quot;You said this, and I'll tell on you, too.&amp;quot; Jade Forest said, &amp;quot; You said you can read once and memorize a passage. Why can't I read ten lines at one glance. &amp;quot; Precious Jade laughed as putting away books, &amp;quot;Don't go on saying it. Let's keep hurrying the flowers. &amp;quot; As soon as they finished burrying, Aroma came and said, &amp;quot;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. &amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
Precious Jade got alarmed and stopped her, saying, &amp;quot;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. &amp;quot; Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, &amp;quot;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'.&amp;quot; Precious Jade laughed, &amp;quot;You said this, and I'll tell on you, too.&amp;quot; Mascara Jade said, &amp;quot; You said you can read once and memorize a passage. Why can't I read ten lines at one glance. &amp;quot; Precious Jade laughed as putting away books, &amp;quot;Don't go on saying it. Let's keep hurrying the flowers. &amp;quot; As soon as they finished burrying, Aroma came and said, &amp;quot;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. &amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
虽未留心去听，偶然两句吹到耳内，明明白白一字不落&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
下，及回头看时，原来是个女子，未知是谁，下回分解。&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210602_culture&amp;diff=123443</id>
		<title>20210602 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210602_culture&amp;diff=123443"/>
		<updated>2021-06-16T06:11:14Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
所以宁荣二府之人，都得人手。因这媳妇妖调异常，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
这媳妇是旧友，一说便成。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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”，&lt;br /&gt;
更有无限恩爱，自不必细说。&lt;br /&gt;
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 &amp;quot;the Mattress&amp;quot;(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye &amp;quot;the Mattress&amp;quot; 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, &amp;quot;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.” &amp;quot;You’re my goddess,&amp;quot; he panted, going all out. What do I care for any other goddess?&amp;quot; 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 &amp;quot;saw off&amp;quot; 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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;the Mattress&amp;quot;(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye &amp;quot;the Mattress&amp;quot; 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, &amp;quot;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.” &amp;quot;You’re my goddess,&amp;quot; he panted, going all out. What do I care for any other goddess?&amp;quot; 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 &amp;quot;saw off&amp;quot; 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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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，&lt;br /&gt;
你赏我罢，我再不敢赌狠了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
背后，只望着平儿杀鸡抹脖使眼色，求他遮盖。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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)&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;What's this?&amp;quot; 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: &amp;quot;Fair girl, please do me a favour, I won't make an act of sheer bravado.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;Fair girl, do not let her know!&amp;quot; Sister Phoenix had entered when Patient rose up. Sister Phoenix ordered Patient: &amp;quot;Get the patterns out of that box for the mistress, quick.&amp;quot; Patience promised quickly. When she was finding the patterns, Sister Phoenix saw Romance Merchant and she suddenly remembered something and asked Patience: &amp;quot;Have you taken in all the things that were taken out?&amp;quot; &amp;quot;Yes, I brought them all in.&amp;quot; &amp;quot;Anything lost?&amp;quot; &amp;quot;I checked carefully and nothing disappeared.&amp;quot; &amp;quot;Anything new appeared?&amp;quot; Patience smiled: &amp;quot;It is normal to check whether anything was lost, how could it be that anything new appears?&amp;quot; Sister Phoenix smiled: &amp;quot;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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
平儿只作看不见，因笑道：“怎么&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
着。”说着，拿了样子出去了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
牙道：“没良心的，‘过了河儿就拆桥’，明儿还想我替你撒谎呢！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
也不许他见人！”&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Dèng Dān 邓丹=&lt;br /&gt;
平儿道：“他醋你使得，你醋他使不得，他原行的正，走的正，你&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
知何事，且听下回分解。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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.&amp;quot;&lt;br /&gt;
“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&amp;quot;, 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)&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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.&amp;quot;&lt;br /&gt;
“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&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
◎第二十二回 听曲文宝玉悟禅机  制灯谜贾政悲谶语&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了，不在话下。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
针线活计取来，为宝钗生辰之仪。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
‘??’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&lt;br /&gt;
嘴！”说着，又引贾母笑了一会。贾母十分喜悦。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After living in Jia's house for two days, Fragrant-cloud History was about to go back. Grandma Merchant said, &amp;quot;after Precious Jade Merchant's birthday, after watching the opera, I'll go back.&amp;quot; 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.&lt;br /&gt;
 &lt;br /&gt;
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: &amp;quot;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? &amp;quot; All the talk made the house laugh. &amp;quot;Listen to this,&amp;quot; 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. &amp;quot; Splendid Phoenix King said with a smile, &amp;quot;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!&amp;quot; She said, and made the lady laugh for a while. Grandma Merchant was very happy.&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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、&lt;br /&gt;
凤姐、黛玉等诸人皆有随分的，不须细说。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
咱们的光儿。”一面说，一面拉他起来，携手出去。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
《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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
俱各点了，按出扮演。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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？&lt;br /&gt;
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&lt;br /&gt;
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’，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
念道：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
钵随缘化！&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant said:&amp;quot; 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.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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:&amp;quot; You order plays like only this kind of plays.&amp;quot; Precious Hairpin replied:&amp;quot; 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.&amp;quot; Precious Jade said:&amp;quot; I have ever been afraid of such lively opera plays.&amp;quot; Precious Hairpin said with a smile:&amp;quot; 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!&amp;quot; Hearing that it was thought highly, Precious Jade came closed to her and begged her:&amp;quot; Good sister, please you read it for me.&amp;quot; Precious Hairpin read:&amp;quot; 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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
散。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
人听了这话，留神细看，都笑起来了，说“果然像得狠！”一时散了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
十个人，与我何干呢！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;There is no book that you don't know!&amp;quot; &amp;quot;Be quiet! and listen to the play,&amp;quot; Mascara Jade Forest urged, &amp;quot;they haven't sung about the 'mountain gate' yet and you already 'pretend to be mad'!&amp;quot; At these words, Fragrant-cloud also laughed. Therefore, the whole party watched the performance until evening and they broke up.&lt;br /&gt;
&lt;br /&gt;
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?&amp;quot; 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, &amp;quot;He resembles Cousin Forest's face!&amp;quot; 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: &amp;quot;They really look alike!&amp;quot; they exclaimed. After a while, they parted.&lt;br /&gt;
&lt;br /&gt;
When evening came, Fragrant-cloud directed Kingfisher to pack up her clothes. &amp;quot; What is in the hurry?&amp;quot; Kingfisher asked, &amp;quot; they will have time to pack up on the day we left.&amp;quot; &amp;quot;We will left tomorrow morning,&amp;quot; Fragrant-cloud rejoined, &amp;quot;for what the point is to stay here and have to look at people's mouths and faces!&amp;quot; At these words, Precious Jade pressed forward and urged: &amp;quot;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!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant was so much into the young actor who played the role of a lady as well as the one who acted like a buffoon, so she gave orders to bring them in, and as she looked them closely, she felt much more interest in 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 bring some fresh fruits and meats for both of them and also gave them two times 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?&amp;quot; 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, &amp;quot;He resembles Cousin Forest's face!&amp;quot; When this remark reached Precious Jade's ear, he cast 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: &amp;quot;They really look alike!&amp;quot; they exclaimed. After a while, they parted.&lt;br /&gt;
&lt;br /&gt;
When evening came, Fragrant-cloud directed Kingfisher to pack up her clothes. &amp;quot; What is in the hurry?&amp;quot; Kingfisher asked, &amp;quot; they will have time to pack up on the day we left.&amp;quot; &amp;quot;We are going to leave tomorrow morning,&amp;quot; Fragrant-cloud rejoined, &amp;quot;for what the point is to stay here and have to look at people's mouths and faces!&amp;quot; At these words, Precious Jade pressed forward and urged: &amp;quot;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 give offense 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 offense to even ten, and that would have been none of my business!&amp;quot;--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 12:20, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
湘云摔手道：“你那花言巧语，别望着我说。我也原不如&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
叫我啐你。”说着，至贾母里间屋里，忿忿的躺着去了。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
垂头不语。袭人早知端的，当此时，再不能劝。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
比不笑，比人家比了笑了的还利害呢！”宝玉听说，无可分辩。&lt;br /&gt;
&lt;br /&gt;
Fragrant-cloud waved him crossly away. &amp;quot;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?&amp;quot; &amp;quot;I was only thinking of you, yet now you put me in the wrong.&amp;quot; Precious Jade was desperate. &amp;quot;If I meant any harm, may I tum into dust this instant and be trampled on by ten thousand feet!&amp;quot; &amp;quot;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!&amp;quot; She flounced off to the Lady Dowager's inner room and threw herself down angrily on a couch.&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;Dear cousin!&amp;quot; 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. &lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;There's always a reason for everything,&amp;quot; he said. &amp;quot;If you'd explain, people wouldn't feel so hurt. What's upset you suddenly?&amp;quot; &amp;quot;A fine question to ask!&amp;quot; Mascara Jade gave a short laugh. &amp;quot;I don't know. For you I'm a figure of fun, to be compared with an actress in order to raise a laugh. &amp;quot; &amp;quot;But why be angry with me? I didn't make the comparison. I didn't laugh. &amp;quot; &amp;quot;I should hope not, indeed! But what you did was even worse than the others laughing and making comparisons.&amp;quot; Precious Jade did not know how to defend himself and was silent.&lt;br /&gt;
&lt;br /&gt;
Fragrant-cloud waved him crossly away. &amp;quot;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 respected young lady, I'm a slave-how dare I offend her?&amp;quot; &amp;quot;I was only thinking of you, yet now you put me in the wrong.&amp;quot; Precious Jade was desperate. &amp;quot;If I meant any harm, may I tum into dust this instant and be trampled on by ten thousand feet!&amp;quot; &amp;quot;Stop talking such nonsense right 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!&amp;quot; She flounced off to the Lady Dowager's inner room and threw herself down angrily on a couch.&lt;br /&gt;
&lt;br /&gt;
After this snub Precious Jade went to look for Mascara Jade, but scarcely had he set foot in her room when she pushed him out and closed the door in his face. Mystified, he called in a subdued voice through the window: &amp;quot;Dear cousin!&amp;quot; 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. &lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;There's always a reason for everything,&amp;quot; he said. &amp;quot;If you'd explain, people wouldn't feel so hurt. What's upset you suddenly?&amp;quot; &amp;quot;A fine question!&amp;quot; Mascara Jade gave a short laugh. &amp;quot;I don't know. For you I'm a figure of fun, to be compared with an actress in order to amuse others. &amp;quot; &amp;quot;But why are you angry with me? I didn't make the comparison. I didn't laugh. &amp;quot; &amp;quot;I should hope not, indeed! But what you did was even worse than the others laughing and making comparisons.&amp;quot; Precious Jade did not know how to defend himself and was silent.--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 08:39, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
黛玉又道：“这一&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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’。&lt;br /&gt;
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？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
去，一辈子也别来了，也别说话！”&lt;br /&gt;
    &lt;br /&gt;
那宝玉不理，竟回来，躺在床上，只是闷嗗咄的。&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud,&amp;quot; Mascara Jade went on. &amp;quot;Just what did you mean by that?&amp;quot; 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.&amp;quot; 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?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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:&amp;quot;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.&amp;quot; And again:&amp;quot; Mountain trees are the first to be falled, clear fountains the first to be consumed.&amp;quot; The more he thought the more depressed he grew. &amp;quot;If I can't even cope now with just these two, what will it be like in the future?&amp;quot; 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.&amp;quot; Go then!&amp;quot; she cried.&amp;quot; And don't ever come back! Don't speak to me again!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Precious Jade paid no attention. Returning to his room, he lay down on his bed starting fixedly before him.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud,&amp;quot; Mascara Jade went on. &amp;quot;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.&amp;quot; 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?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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:&amp;quot;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.&amp;quot; And again:&amp;quot; Mountain trees are the first to be fell, clear fountains the first to be consumed.&amp;quot; The more he thought the more depressed he grew. &amp;quot;If I can't even cope now with just these two, what will it be like in the future?&amp;quot; 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.&amp;quot; Go then!&amp;quot; she cried.&amp;quot; And don't ever come back! Don't speak to me again!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Precious Jade had no response, and returned to his room,laid down on his bed starting fixedly before him.    ——Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
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：&lt;br /&gt;
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。&lt;br /&gt;
Aroma knew the reasons, but she feared speaking out, so explained other things. So she smiled,&amp;quot;I saw the play today,and I will space several other days to see play. Precious Hairpin Marshgrass must come.&amp;quot; Precious Jade Merchant sneered: &amp;quot;Whether she come or not come, it is matter for me?&amp;quot; Aroma felt the words did not seem to be his usual tone, so she laughed again, &amp;quot;Why did you say that? In the first lunar month, the ladies and sisters are all happy. Why do you do this?&amp;quot; Precious Jade Merchant sneered, &amp;quot;It is nothing to do with me whether your ladies or sisters are happy or not.&amp;quot; Aroma said with a smile, &amp;quot;They will be easygoing, and you will be easygoing. And you all are happy together?&amp;quot; Precious Jade Merchant said, &amp;quot;Each other? They have intimate relationship but I'm just excluded and have no relationship with them.&amp;quot; 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:&lt;br /&gt;
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 &amp;quot;parasitic grass&amp;quot; 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, &amp;quot;He has been already asleep.&amp;quot; Hearing this, Mascara Jade Forest wanted to go back, but Aroma said with a smile, &amp;quot;Girl, please stand here. I have a post and would like you see what it is.&amp;quot; Then Aroma read to Mascara Jade Forest what Precious Jade Merchant had just written.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Aroma knew the reasons, but she feared speaking out, so explained other things. So she smiled, &amp;quot;I saw the play today, and I will space several other days to see the play. Precious Hairpin Marshgrass must come.&amp;quot; Precious Jade Merchant sneered: &amp;quot;Whether she come or not come, it is a matter for me?&amp;quot; Aroma felt the words did not seem to be his usual tone, so she beamed again: &amp;quot;Why did you say that? In the first lunar month, the ladies and sisters are all happy. Why do you do this?&amp;quot; Precious Jade Merchant sneered, &amp;quot;It is nothing to do with me whether your ladies or sisters are happy or not.&amp;quot; Aroma said with a smile, &amp;quot;They will be easygoing, and you will be easygoing. And you all are happy together?&amp;quot; Precious Jade Merchant said: &amp;quot;Each other? They have an intimate relationship but I'm just excluded and have no relationship with them.&amp;quot; While Speaking of this sentence, he can't help crying. Seeing this, Aroma dare not say anything anymore. 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:&lt;br /&gt;
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 &amp;quot;parasitic grass&amp;quot; after the chapter. After reading it again, he felt that he was relaxed and went to sleep. It is beyond imagination that Mascara Jade Forest saw Precious Jade Merchant decisively left. So she pretended to seek Aroma but in fact to see Precious Jade Merchant. Aroma replied, &amp;quot;He has been already asleep.&amp;quot; Hearing this, Mascara Jade Forest wanted to go back, but Aroma said with a smile: &amp;quot;Miss, please stand here. I have a post and would like you to see what it is.&amp;quot; Then Aroma read what Precious Jade Merchant had just written to Mascara Jade Forest.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:23, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
黛玉看了，知宝玉为一时感忿&lt;br /&gt;
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&lt;br /&gt;
回房去，与湘云同看。次日，又与宝钗看，宝钗念其词曰：&lt;br /&gt;
          &lt;br /&gt;
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&lt;br /&gt;
说甚亲疏密？从前碌碌却因何？到如今，目头试想真无趣！&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
个痴心邪说。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
‘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&lt;br /&gt;
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，&lt;br /&gt;
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：&lt;br /&gt;
“无立足境，方是干净。”&lt;br /&gt;
&lt;br /&gt;
Daiyu watched, and knows that it was baoyu’s work with angry, so she smiled and plaint. And she said to Xiren: &amp;quot; Well it's an interesting thing, just let him go.&amp;quot; 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: &lt;br /&gt;
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: &amp;quot;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.&amp;quot;As she said, baochai tore it to pieces, handed it to servant girls, and said：&amp;quot;Burn it up, hurry up.&amp;quot; &amp;quot;No, you shouldn’t tear it. Wait, I’ll ask him. Come with me, he will not say that again.&amp;quot;Daiyu said with a smile.&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot; Well it's an interesting thing, just let him go.&amp;quot; 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: &lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;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.&amp;quot;As she said, Precious Hairpin tore it into pieces, handed it to servant girls, and said：&amp;quot;Burn them up, hurry up.&amp;quot; &amp;quot;No, you shouldn’t tear it. Wait, I’ll ask him. Come with me. He will not have such ideas again.&amp;quot;Mascara Jade said with a smile.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
宝钗道：“实在这方悟彻。当日南宗六祖惠能，初寻师&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
旧。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
纱灯，专为灯谜而制，上面已有了一个，众人都争看乱猜。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
小太监又下谕道：“众&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
人拈一物作成一谜，恭楷写了，挂于灯上。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
什么。”众人听了，都来看他作的是什么，写道：&lt;br /&gt;
        &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
了，领茶而去。&lt;br /&gt;
    &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
间又一席。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
坦然自若。故此一席，虽是家常取乐，反见拘束。&lt;br /&gt;
    &lt;br /&gt;
贾母亦知因贾政一人在此所致，酒过三巡，便撵贾政去歇息。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
Master Merchant failed to see Chia Lan, and he therefore inquired: &amp;quot;How is it I don't see brother Lan,&amp;quot; whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Li. &amp;quot;He says,&amp;quot; Mrs. Li stood up and rejoined with a smile, &amp;quot;that as your master didn't go just then to ask him round, he has no wish to come!&amp;quot; and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: &amp;quot;How obstinate and perverse his natural disposition is!&amp;quot; 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.&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
Master Merchant failed to see Orchid Merchant, and he therefore inquired: &amp;quot;How is it I don't see brother Orchid,&amp;quot; whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Plum. &amp;quot;He says,&amp;quot; Mrs. Plum stood up and rejoined with a smile, &amp;quot;that as your master didn't go just then to ask him round, he has no wish to come!&amp;quot; and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: &amp;quot;How obstinate and perverse his natural disposition is!&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
贾政亦知贾&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
也要领赏呢！”贾母道：“这个自然。”便念道：&lt;br /&gt;
        &lt;br /&gt;
猴子身轻站树梢——打一果名。&lt;br /&gt;
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，&lt;br /&gt;
然后也念一个灯谜与贾母猜，念道：&lt;br /&gt;
&lt;br /&gt;
身自端方，体自坚硬。虽不能言，有言必应——打一用物。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
起身走至屏前，只见第一个是元妃的，写着道：&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
灰——打一物。&lt;br /&gt;
贾政道：“这是爆竹呢。”宝玉答道：“是。”&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;Today I heard that mom set the spring lantern riddles, so I also prepared wonderful gifts and banquets for the party. Why don't you give your son a little of your love for your grandchildren?&amp;quot; Grandma Merchant laughed, &amp;quot;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.&amp;quot; Master Merchant smiled at once, &amp;quot;Of course. But if I guess out, don't forget to give me the reward!&amp;quot; &amp;quot;That's for sure.&amp;quot; Then Grandma Merchant read,&lt;br /&gt;
&lt;br /&gt;
The light monkey stands on the treetop. The answer was a fruit name. &lt;br /&gt;
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.&lt;br /&gt;
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.”The female servant promised, and then presented the large and small boxes together on.Looking through each of them, Grandma Merchant was satisfied to find that all were new and clever things to play with during the Lantern Festival.So she ordered the servant to serve liqueur for her master.Precious Jade held the flagon and  Spring Pleasure sent the liqueur.&lt;br /&gt;
Grandma Merchant went on saying, &amp;quot;Look at that screen. It's all made by his sisters. Have a try again.&amp;quot; Master Merchant agreed,getting up and going to the screen, seeing that the first one was written by Princess First Spring.&lt;br /&gt;
&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 04:23, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;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?&amp;quot; Grandma Merchant laughed, &amp;quot;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 can’t guess out, you'll be punished.&amp;quot; Master Merchant smiled at once, &amp;quot;Of course. But if I can guess out, don't forget to give me the reward!&amp;quot; &amp;quot;That's for sure.&amp;quot; Then Grandma Merchant read,&lt;br /&gt;
&lt;br /&gt;
The light monkey stands on the treetop. The answer was a fruit name. &lt;br /&gt;
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.&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 23:39, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
贾政又看迎春的，道：&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
贾政道：“是算盘。”迎春笑道：“是。”又往下看，是探春的，道：&lt;br /&gt;
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&lt;br /&gt;
离——打一物。&lt;br /&gt;
&lt;br /&gt;
贾政道：“好像风筝。”探春道：“是。”贾政再往下看，是黛玉的，道：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
变迁——打一物。&lt;br /&gt;
贾政道：“这个莫非是更香？”宝玉代言道：“是。”&lt;br /&gt;
&lt;br /&gt;
贾政又看道：&lt;br /&gt;
南面而坐，北面而朝，“象忧亦忧，象喜亦喜”——打一物。&lt;br /&gt;
贾政道：“好，好！如猜镜子，妙极！”宝玉笑回道：“是。”&lt;br /&gt;
&lt;br /&gt;
贾政道：“这一个却无名&lt;br /&gt;
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&lt;br /&gt;
钗的，道是：&lt;br /&gt;
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&lt;br /&gt;
冬——打一物。&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
Master Merchant move on to read Spring Pleasure’s: &lt;br /&gt;
&lt;br /&gt;
No end to the labour of men, to heaven’s decrees,&lt;br /&gt;
But labour unblessed by Heaven will fruitless be.&lt;br /&gt;
What causes this constant, frenzied activity?&lt;br /&gt;
The uncertainty of mortal destiny.&lt;br /&gt;
&lt;br /&gt;
“An abacus?” Spring Pleasure agreed with a smile. Master Merchant read the next riddle:&lt;br /&gt;
&lt;br /&gt;
The children by the steps look up:&lt;br /&gt;
Spring surely has no fitter decoration.&lt;br /&gt;
But when the silk cord breaks it drifts away,&lt;br /&gt;
Blame not the east wind for this separation.&lt;br /&gt;
&lt;br /&gt;
“That sounds like a kite,” said Master Merchant. When Seeking Spring had confirmed this he looked at another riddle by Mascara Jade:&lt;br /&gt;
&lt;br /&gt;
Who leaves the levee with smoke-scented sleeves?&lt;br /&gt;
Not destined by the lute or quilt to sit,&lt;br /&gt;
It needs no watchman to announce the dawn,&lt;br /&gt;
No maid at the fifth watch to replenish it.&lt;br /&gt;
Burned with anxiety both day and night,&lt;br /&gt;
Consumed with anguish as time slips away,&lt;br /&gt;
As life speeds past we learn to hold it dear—&lt;br /&gt;
What cares it whether foul or fair the day?&lt;br /&gt;
&lt;br /&gt;
“Is it incense?” Precious Jade said for Mascara Jade: “Yes.” &lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
Master Merchant move on to read Spring Pleasure's riddle: &lt;br /&gt;
&lt;br /&gt;
No end to the labor of men, to heaven’s decrees,&lt;br /&gt;
But labor unblessed by Heaven will fruitless be.&lt;br /&gt;
What causes this constant, frenzied activity?&lt;br /&gt;
The uncertainty of mortal destiny.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;An abacus?&amp;quot; Spring Pleasure agreed with a smile. Then, Master Merchant read the next riddle:&lt;br /&gt;
&lt;br /&gt;
The children by the steps look up:&lt;br /&gt;
Spring surely has no fitter decoration.&lt;br /&gt;
But when the silk cord breaks it drifts away,&lt;br /&gt;
Blame not the east wind for this separation.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;That sounds like a kite,&amp;quot; said Master Merchant.Seeking Spring confirmed his answer, and so he moved on to look at another riddle by Mascara Jade:&lt;br /&gt;
&lt;br /&gt;
Who leaves the levee with smoke-scented sleeves?&lt;br /&gt;
Not destined by the lute or quilt to sit,&lt;br /&gt;
It needs no watchman to announce the dawn,&lt;br /&gt;
No maid at the fifth watch to replenish it.&lt;br /&gt;
Burned with anxiety both day and night,&lt;br /&gt;
Consumed with anguish as time slips away,&lt;br /&gt;
As life speeds past we learn to hold it dear—&lt;br /&gt;
What cares it whether foul or fair the day?&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Is it incense?&amp;quot; &amp;quot;Yes,&amp;quot;said Precious Jade. &lt;br /&gt;
&lt;br /&gt;
The emperor faces the north while ministers face the south&lt;br /&gt;
Looks like gloom and it is gloom&lt;br /&gt;
Looks like happiness and it is happiness&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Good! It's a mirror!&amp;quot; Precious Jade smiled and said &amp;quot;Yes&amp;quot;.&lt;br /&gt;
&lt;br /&gt;
Master Merchant said,&amp;quot; There is one without a name on it. Who made it?&amp;quot; Grandma Merchant said, &amp;quot; Maybe it was made by Precious Jade.&amp;quot; Master Jade said no words and moved on to read the one made by Precious Hairpin.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;yes&amp;quot; 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.&lt;br /&gt;
 &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;yes&amp;quot; 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.&lt;br /&gt;
 &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
◎第二十三回 西厢记妙词通戏语  牡丹亭艳曲警芳心&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
唤来监工。一日烫蜡钉朱，动起手来。这也不在话下。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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：&lt;br /&gt;
“倒是提醒了我。就是这样。”即时唤贾琏。&lt;br /&gt;
&lt;br /&gt;
After First Spring Merchant’s return to the Palace from her visit to the 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 Grand View Gardens a lasting memorial to that splendid occasion. Master Merchant accordingly ordered skilled artisans to polish and engrave the stones under the supervision of Treasure Merchant, assisted by Prosperity Merchant and Lemna Merchant. As Rose Merchant had his hands full looking after the twelve actresses and their properties, he asked Gladiolus Merchant and Caltrop Merchant 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.&lt;br /&gt;
&lt;br /&gt;
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 Celery 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 Sister Phoenix’s help. As this woman was normally unassuming, Sister Phoenix 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 Romance Merchant.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 07:01, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After First Spring Merchant’s return to the Palace from her visit to the 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 Grand View Gardens a lasting memorial to that splendid occasion. Master Merchant accordingly ordered skilled artisans to polish and engrave the stones under the supervision of Treasure Merchant, assisted by Prosperity Merchant and Lemna Merchant. As Rose Merchant had his hands full looking after the twelve actresses and their properties, he asked Gladiolus Merchant and Caltrop Merchant 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.&lt;br /&gt;
&lt;br /&gt;
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 Celery 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 Sister Phoenix’s help. As this woman was normally unassuming, Sister Phoenix 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 Romance Merchant.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 23:37, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
一口，低下头便吃饭。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
来见贾琏夫妻，感谢不尽。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 04:42, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
凤姐又做情先支三个月的费用，叫他写了领字，贾琏&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
上车子，一径往城外铁槛寺去了。当下无话。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“命宝钗等在园中居住，不可封锢，命宝玉也随进去读书。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
色，便拉着贾母，扭的扭股儿糖似的，死也不敢去。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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,&lt;br /&gt;
&lt;br /&gt;
			When lovely woman smiles not,&lt;br /&gt;
			All Nature’s charms ate dead.&lt;br /&gt;
&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
	&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 17:02, 8 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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 ‘Do you buy yourselves a cup of tea ?’. Then he ordered a boy to carry the money back home for him, and after taking counsel with his mother. At that moment, he rented several chariots and when rounded to the side gate of the Rongguo Mansion, he called forth the twenty-four people and packed them all inside. Then they set off for the Temple of the Iron Threshold outside the city. Nothing to say at that time.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 15:23, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
贾母只得安慰他道：“好宝&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
老子唬着他。”老姥嬷答应了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
来，惟有探春、惜春和贾环站了起来。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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；&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
半&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
等吃饭呢。”&lt;br /&gt;
&lt;br /&gt;
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!”&lt;br /&gt;
&lt;br /&gt;
“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. &lt;br /&gt;
 &lt;br /&gt;
Stroking her son’s neck fondly Lady Wang asked:“Have you finished those pills prescribed for you the other day?”&lt;br /&gt;
 &lt;br /&gt;
“All but one.”&lt;br /&gt;
 &lt;br /&gt;
“You must fetch ten more tomorrow. Get Aroma to see that you take one each evening at bedtime.”&lt;br /&gt;
&lt;br /&gt;
“Ever since you ordered it, madam, Aroma has been giving me one every evening.”&lt;br /&gt;
 &lt;br /&gt;
“Who is Aroma?” demanded Master Merchant.&lt;br /&gt;
 &lt;br /&gt;
“One of the maids,” his wife told him.&lt;br /&gt;
 &lt;br /&gt;
“A maid can be called anything, I suppose. But who thought up such a suggestive name for her?”&lt;br /&gt;
 &lt;br /&gt;
To shield Precious Jade from his father’s displeasure Lady Wang said, “It was the old lady’s idea.”&lt;br /&gt;
 &lt;br /&gt;
“Such a name would never occur to the old lady. This must have been Precious Jade’s doing.”&lt;br /&gt;
 &lt;br /&gt;
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.”&lt;br /&gt;
 &lt;br /&gt;
“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.”&lt;br /&gt;
 &lt;br /&gt;
“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.” &lt;br /&gt;
 &lt;br /&gt;
Then he said sternly to Precious Jade: “What are you standing there for, you unnatural monster?”&lt;br /&gt;
 &lt;br /&gt;
“Run along, “urged Lady Wang. “The old lady is probably waiting for you for supper.&lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:02, 10 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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!”&lt;br /&gt;
“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.”&lt;br /&gt;
“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)&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
香风，不似前番那等寂寞了。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
斗草簪花，低吟情唱，拆字猜枚，无所不至，倒也十分快意。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
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.&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.While He just arrived at the entrance hail, he found Aroma leaning in the doorway. →While he just arrived at the entrance hail, he found Aroma leaning in the doorway. &lt;br /&gt;
&lt;br /&gt;
2.But no need to describe this in detail.→But there is no need to describe this in detail.&lt;br /&gt;
&lt;br /&gt;
3.He had a carefree life here.→He lives a carefree life here.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 06:11, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
他曾有几首四时即&lt;br /&gt;
事诗，虽不算好，却是真情真景。&lt;br /&gt;
“春夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
频。&lt;br /&gt;
            &lt;br /&gt;
“夏夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
妆。&lt;br /&gt;
            &lt;br /&gt;
“秋夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
茶。&lt;br /&gt;
            &lt;br /&gt;
“冬夜即事”云：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
烹。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
发得意，每日家做这些外务。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
那里知宝玉此时的心事？&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
the ballad on the spring night runs as follows：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
This is the description of the aspect of nature on a summer night：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
the landscape of an autumnal evening is thus depicted：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
the picture of a winter night is in this strain：&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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？&lt;br /&gt;
&lt;br /&gt;
不说宝玉闲吟But putting aside Precious Jade Merchant， as he leisurely was occupied in scanning some verses， we will now allude to all these ballads.&lt;br /&gt;
 But putting aside Precious Jade's casual writing--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 15:42, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
那宝玉心内不自在，便懒在园内，只在外头鬼混，却又&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
上，无人时方看；那粗俗过露的，都藏于外面书房内。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
面，飘飘荡荡，竟流出沁芳闸去了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了好些在那里呢。”&lt;br /&gt;
That Precious Jade was uncomfortable in his heart, so he stayed lazily in the garden, only fooling around outside, but he was as in a trance.  And Tealeaf saw him like this. In order to make him happy，she racked her brains：Precious Jade was enough of all the playing things，only this one，Precious Jade had never seen it before.  After thinking about it, she went to the bookstore and bought Precious Jade a lot of ancient and modern novels, along with the &amp;quot;unofficial biographies&amp;quot;of Zhao Flying Swallow, Zhao Virtue, Empress Wu Zetian, and the Imperial Concubine Yang, and the romantic novels. Upon reading these books, Precious Jade  was as if gaining the most precious treasures. Tealeaf again ordered: &amp;quot;Don't take it into the garden. If someone knows it, I'll be in real trouble.&amp;quot;But would Precious Jade be willing not to bring the book into the garden？After hesitating four more times, he picked up only a few sets of the more highbrow ones, and put them on the top of the bed so that he can read them when there's no one else; the vulgar and indecent ones were all hidden in the outside study.&lt;br /&gt;
 That day was the middle of March. After breakfast, Baoyu brought a set of &amp;quot;The Story of Huizheng&amp;quot; and walked to the Qinfang Gate Bridge. Sitting on a stone under the peach trees, he opened &amp;quot;The Story of Huizheng&amp;quot; and carefully read it from the beginning. When he was seeing the &amp;quot;falling red（flowers）was piled&amp;quot;，a gust of wind passed, blowing down a big bucket of peach blossoms from the tree and Precious Jade’s whole body ，the entire ground and book were covered with flowers. Precious Jade was about to shake off the flowers, but he was afraid that his footsteps would trample them on, so he had to take the petals in clothes, come to the edge of the pool, and shook them into the pool.  The petals floated on the water, drifting, and flowed out of the Qinfang Gate. When he came back, he found there were many petals in the ground again. While Precious Jade was hesitating what to do with these petals，he heard someone behind him say: &amp;quot;What are you doing here?&amp;quot; Precious Jade turned around and found that was Mascara Jade，who came with a flower hoe on her shoulder, and a gauze-bag hung on that hoe，a flower broom was held in her hand. Precious Jade smiled and said: &amp;quot;Well, well, come and sweep these flowers up and put them in the water. I have just thrown lots of them there.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
That Precious Jade was uncomfortable in his heart, so he stayed lazily in the garden, only fooling around outside, but he was as in a trance. And Tealeaf saw him like this. In order to make him happy，she racked her brains：Precious Jade was enough of all the playing things，only this one，Precious Jade had never seen it before.  After thinking about it, she went to the bookstore and bought Precious Jade a lot of ancient and modern novels, along with the &amp;quot;unofficial biographies&amp;quot; of Flying Swallow Zhao, Virtue Zhao, Choice of Heaven Military, and the Imperial Concubine Yang, and the romantic novels. Upon reading these books, Precious Jade was as if gaining the most precious treasures. Tea Leaf again ordered: &amp;quot;Don't take it into the garden. If someone knows it, I'll be in real trouble.&amp;quot; But would Precious Jade be willing not to bring the book into the garden？After hesitating four more times, he picked up only a few sets of the more highbrow ones, and put them on the top of the bed so that he can read them when there's no one else; the vulgar and indecent ones were all hidden in the outside study.&lt;br /&gt;
 That day was the middle of March. After breakfast, Precious Jade brought a set of &amp;quot;The Story of Huizheng&amp;quot; and walked to the Intriguing Fragrance Gate Bridge. Sitting on a stone under the peach trees, he opened &amp;quot;The Story of Huizheng&amp;quot; and carefully read it from the beginning. When he was seeing the &amp;quot;falling red（flowers）was piled&amp;quot;，a gust of wind passed, blowing down a big bucket of peach blossoms from the tree and Precious Jade’s whole body ，the entire ground and book were covered with flowers. Precious Jade was about to shake off the flowers, but he was afraid that his footsteps would trample them on, so he had to take the petals in clothes, come to the edge of the pool, and shook them into the pool.  The petals floated on the water, drifting, and flowed out of the Intriguing Fragrance Gate. When he came back, he found there were many petals in the ground again. While Precious Jade was hesitating what to do with these petals，he heard someone behind him say: &amp;quot;What are you doing here?&amp;quot; Precious Jade turned around and found that was Mascara Jade，who came with a flower hoe on her shoulder, and a gauze-bag hung on that hoe，a flower broom was held in her hand. Precious Jade smiled and said: &amp;quot;Well, well, come and sweep these flowers up and put them in the water. I have just thrown lots of them there.&amp;quot;&lt;br /&gt;
----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
黛玉道：“撂在水里不好，你看这里的水干净，只一流出去，有&lt;br /&gt;
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&lt;br /&gt;
了，装在选绢袋里，埋在那里，日久随土化了，岂不干净。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
就把眼圈儿红了，转身就走。&lt;br /&gt;
‘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?’&lt;br /&gt;
Precious Jade was full of admiration for this idea.&lt;br /&gt;
‘Just let me put this book somewhere and I’ll give you a hand.’&lt;br /&gt;
‘What book?’ said Mascara Jade Forest.&lt;br /&gt;
‘Oh... The Doctrine of the Mean and The Greater Learning,’ he said, hastily concealing it.&lt;br /&gt;
‘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.’&lt;br /&gt;
‘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!’&lt;br /&gt;
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.&lt;br /&gt;
‘Well,’ said Precious Jade, ‘is it good?’&lt;br /&gt;
Mascara Jade smiled and nodded.&lt;br /&gt;
Precious Jade laughed:&lt;br /&gt;
&lt;br /&gt;
‘How can I, full of sickness and of woe,&lt;br /&gt;
Withstand that face which kingdoms could o’erthrow?’&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
‘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!’&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;It isn’t a good idea to tip them in the water,&amp;quot; said Mascara Jade Forest. &amp;quot;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?&amp;quot; Precious Jade was full of admiration for this idea. &amp;quot;Just let me put this book somewhere and I’ll give you a hand.&amp;quot; &amp;quot;What book?&amp;quot; said Mascara Jade Forest. &amp;quot;Oh... The Doctrine of the Mean and The Greater Learning,&amp;quot; he said, hastily concealing it. &amp;quot;Don’t try to fool me!&amp;quot; said Mascara Jade Forest, &amp;quot;You'd better let me look at it in the first place, instead of hiding it so guiltily.&amp;quot; &amp;quot;In your case,  I have nothing to be afraid of,&amp;quot; said Precious Jade, &amp;quot;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!&amp;quot; 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. &amp;quot;Well,&amp;quot; said Precious Jade, &amp;quot;is it good?&amp;quot; Mascara Jade smiled and nodded. Precious Jade laughed, &amp;quot;How can I, full of sickness and of woe, withstand that face which kingdoms could overthrow?&amp;quot;&lt;br /&gt;
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. &amp;quot;You’re hateful!&amp;quot;— she pointed a finger at him in angry accusal — &amp;quot;deliberately using that horrid play to take advantage of me. I’m going. straight off to tell Uncle and Aunt!&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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’&lt;br /&gt;
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&lt;br /&gt;
拾落花。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
玉听了，忙拿了书，别了黛玉，同袭人回房换衣不提。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
二十女孩子演习戏文。&lt;br /&gt;
Precious Jade got alarmed and stopped her, saying, &amp;quot;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. &amp;quot; Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, &amp;quot;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'.&amp;quot; Precious Jade laughed, &amp;quot;You said this, and I'll tell on you, too.&amp;quot; Jade Forest said, &amp;quot; You said you can read once and memorize a passage. Why can't I read ten lines at one glance. &amp;quot; Precious Jade laughed as putting away books, &amp;quot;Don't go on saying it. Let's keep hurrying the flowers. &amp;quot; As soon as they finished burrying, Aroma came and said, &amp;quot;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. &amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
Precious Jade got alarmed and stopped her, saying, &amp;quot;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. &amp;quot; Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, &amp;quot;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'.&amp;quot; Precious Jade laughed, &amp;quot;You said this, and I'll tell on you, too.&amp;quot; Mascara Jade said, &amp;quot; You said you can read once and memorize a passage. Why can't I read ten lines at one glance. &amp;quot; Precious Jade laughed as putting away books, &amp;quot;Don't go on saying it. Let's keep hurrying the flowers. &amp;quot; As soon as they finished burrying, Aroma came and said, &amp;quot;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. &amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
虽未留心去听，偶然两句吹到耳内，明明白白一字不落&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
下，及回头看时，原来是个女子，未知是谁，下回分解。&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210526_culture&amp;diff=123436</id>
		<title>20210526 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210526_culture&amp;diff=123436"/>
		<updated>2021-06-16T06:06:08Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wú Xīnxīn 吴欣欣 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
   &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
的睡去了。&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;What an old pest she is!&amp;quot; one muttered. &amp;quot;Is that a bowl of junket?&amp;quot; asked Nanny Plum. &amp;quot;Why didn’t you send it over to me? I’d better eat it here right now.&amp;quot; She picked up a spoon and started eating it. &amp;quot;You leave that alone!&amp;quot; cried one girl. &amp;quot;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.” &amp;quot;I can’t believe it of him.&amp;quot; Nanny Plum was both indignant and embarrassed. &amp;quot;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.&amp;quot; With that, in a huff, she finished off the junket. They’ve no manners,&amp;quot; said another maid soothingly. &amp;quot;I don' 't wonder you’re cross, granny. Precious Jade often sends you presents. This isn’t going to upset him.&amp;quot; &amp;quot;You don’t have to humor me in that sly way,' Nanny Li snorted. &amp;quot;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.&amp;quot; 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. &amp;quot;Is she ill?&amp;quot; he asked. Or did she lose some game?&amp;quot; &amp;quot;She was winning,&amp;quot; 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.&amp;quot; &lt;br /&gt;
&amp;quot;You mustn't take Nanny Li so seriously&amp;quot; Precious Jade smiled. &amp;quot;Just leave her alone.”&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;What an old pest she is!&amp;quot; one muttered. &amp;quot;Is that a bowl of junket?&amp;quot; asked Nanny Plum. &amp;quot;Why didn’t you send it over to me? I’d better eat it here right now.&amp;quot; She picked up a spoon and started eating it. &amp;quot;You leave that alone!&amp;quot; cried one girl. &amp;quot;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.” &amp;quot;I can’t believe it of him.&amp;quot; Nanny Plum was both indignant and embarrassed. &amp;quot;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.&amp;quot; With that, in a huff, she finished off the junket. They’ve no manners,&amp;quot; said another maid soothingly. &amp;quot;I don' 't wonder you’re cross, granny. Precious Jade often sends you presents. This isn’t going to upset him.&amp;quot; &amp;quot;You don’t have to humor me in that sly way,' Nanny Plum snorted. &amp;quot;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.&amp;quot; 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. &amp;quot;Is she ill?&amp;quot; he asked. Or did she lose some game?&amp;quot; &amp;quot;She was winning,&amp;quot; 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.&amp;quot; &lt;br /&gt;
&amp;quot;You mustn't take Nanny Plum so seriously&amp;quot; Precious Jade smiled. &amp;quot;Just leave her alone.”--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 10:22, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;What an old pest she is!&amp;quot; one muttered. &amp;quot;Is that a bowl of junket?&amp;quot; asked Nanny Plum. &amp;quot;Why didn’t you send it over to me? I’d better eat it here right now.&amp;quot; She picked up a spoon and started eating it. &amp;quot;You leave that alone!&amp;quot; cried one girl. &amp;quot;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.” &amp;quot;I can’t believe it of him.&amp;quot; Nanny Plum was both indignant and embarrassed. &amp;quot;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.&amp;quot; &lt;br /&gt;
With that, in a huff, she finished off the junket. “They’ve no manners,&amp;quot; said another maid soothingly. &amp;quot;I don' 't wonder you’re cross, nanny. Precious Jade often sends you presents. This isn’t going to upset him.&amp;quot; &amp;quot;You don’t have to humor me in that sly way,' Nanny Li snorted. &amp;quot;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.&amp;quot; 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. &amp;quot;Is she ill?&amp;quot; he asked. Or did she lose some games?&amp;quot; &amp;quot;She was winning,&amp;quot; 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.&amp;quot; &amp;quot;You mustn't take Nanny Plum so seriously&amp;quot; Precious Jade smiled. &amp;quot;Just leave her alone.”--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 06:39, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“你们别和他一般见识，由他去就是了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
遭塌了。我只想风干栗子吃，你替我剥栗子，我去铺床。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
花几两银子买他们进来就是了。”&lt;br /&gt;
&lt;br /&gt;
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?”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Precious Jade laughed: “Don’t stoop down to their level, and just let them be.” &lt;br /&gt;
&lt;br /&gt;
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?”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“你说的话怎么叫人答言呢？我不&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
妆都齐备了，明年就出嫁。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
多。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Dèng Dān 邓丹=&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
着便赌气上床睡了。&lt;br /&gt;
&lt;br /&gt;
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。”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
&lt;br /&gt;
又&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
死了，再不必起赎我的念头！”因此哭闹了一阵。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了，知其情有不忍，气已馁堕。&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
&lt;br /&gt;
自己原不想栗子吃，只因怕为酥酪生事，又像那&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了，刀搁在脖子上，我也是不出去的了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“改了，再说你就拧嘴。还有什么？”&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;what's so sad about this? If you want me to stay, I won't go out. &amp;quot; There was room for Precious Jade Merchant's words to turn around, so he said, &amp;quot;tell me, how can I keep you? I don't know what to do myself Aroma said with a smile: &amp;quot;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. &amp;quot;&lt;br /&gt;
 &lt;br /&gt;
Precious Jade Merchant immediately said with a smile, &amp;quot;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. &amp;quot;&lt;br /&gt;
 &lt;br /&gt;
Aroma quickly covered his mouth and said, &amp;quot;OK, OK! I'm trying to persuade you not to say that again. &amp;quot; Precious Jade Merchant said: &amp;quot;don't say that again.&amp;quot; &amp;quot;This is the first thing to change,&amp;quot; he said Precious Jade Merchant said: &amp;quot;if you change it, you can screw my mouth. What else? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
别人怎么想你？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
个道理，纵坐了也没甚趣。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
宽衣安歇，不在话下。&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
好，刚服下去，命他盖上被窝渥汗，宝玉自去黛玉房中来看视。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
&lt;br /&gt;
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,&amp;quot; It is just a small fever. Taking one dose or two doses of medicine is enough to cure it.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;My dear sister, you just finished my dinner. And then you sleep.&amp;quot;, and woke Mascara Jade up. Mascara Jade found that it was Precious Jade , saying that,&amp;quot; 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.&amp;quot; Precious Jade answered,&amp;quot; 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.&amp;quot;, pushing her and continuing to say,&amp;quot; Where should I go? I always feel bored to meet others.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Hearing these words, Mascara Jade laughed with a &amp;quot;Chi&amp;quot;. She said,&amp;quot; If you want to stay here, go to that side and sit sill. Let's have a chat. Precious Jade said,&amp;quot; I want to lie down,too.&amp;quot; Mascara Jade replied,&amp;quot; Then you can lie down.&amp;quot; Precious Jade said,&amp;quot; There is no more pillow. Let's sleep on the same pillow.&amp;quot; Mascara Jade said,&amp;quot; Bosh! Isn't a pillow it the outer room?&amp;quot; Take that one to sleep on.&amp;quot; Precious Jade walked to the outer room and looked around the room. He came back laughing,&amp;quot; I don't want that one. It must belong to some old dirty woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up with a smile and said,&amp;quot; You are the real unbeatable rival in my life. Sleep on this one. Please!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
舌讨好，吹到舅舅耳朵里，又大家不干净惹气。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
可不饶你了！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;Whose nail has scratched this open?&amp;quot; Precious Jade with his body still reclining and withdrawing from her reach, as he did so, he answered with a smile: &amp;quot;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.&amp;quot; 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: &amp;quot; 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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;At such a time at this, who keeps scents at one's side?&amp;quot; &amp;quot;Well, in that case,&amp;quot; Precious Jade rejoined with a smirking face, &amp;quot;where does this scent come from?&amp;quot; &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;It may not,&amp;quot; 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!&amp;quot; &amp;quot;Is it likely that I have, like others Buddhistic disciples,&amp;quot; Mascara Jade asked and laughed ironically, &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Whenever I uttered any single remark,&amp;quot; Precious Jade urged with a grin, &amp;quot;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!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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 a button on the left side of his face. She speedily bent her body and drew near to him. She rubbed it with her hand, then she scrutinized it closely. She went on to inquire, &amp;quot;Whose nail has scratched this open?&amp;quot; Precious Jade with his body still reclining and withdrawing from her reach, as he did so, he answered with a smile: &amp;quot;It isn't a scratch; I presume it must be a simple drop which spattered on my cheek when I was mixing and clarifying the cosmetic paste for them just now.&amp;quot; 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: &amp;quot; 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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Precious Jade did not hear what she said, she was being intent to smell 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: &amp;quot;At such a time at this, who keeps scents at one's side?&amp;quot; &amp;quot;Well, in that case,&amp;quot; Precious Jade rejoined with a smirking face, &amp;quot;where does this scent come from?&amp;quot; &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;It may not,&amp;quot; Precious Jade added and he shook his head; this smell is very peculiar and doesn't resemble the perfume of scent-bottles, scent-balls, or scented sachets!&amp;quot; &amp;quot;Is it likely that I have, like others Buddhistic disciples,&amp;quot; Mascara Jade asked and laughed ironically, &amp;quot;or worthies to give me these 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.&amp;quot;--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 12:04, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
道：“再不敢了。”一面理鬓笑道：“我有奇香，你有‘暖香’没有？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
脸。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
道：“扬州有一座黛山，山上有个林五洞，……”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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?&lt;br /&gt;
&lt;br /&gt;
“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.”&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 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. “If you say I have an unusual scent, have you a warm scent?&lt;br /&gt;
&lt;br /&gt;
“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 then understood her 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 tease,” she cried hastily “All right, I’ll forgive you if you let me smell your sleeve.” So,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.” “I can’t. Let’s lie down in a civilized way and chat.”&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 09:50, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
&lt;br /&gt;
黛玉笑道：“这就扯谎，自来也没&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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。’&lt;br /&gt;
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：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
‘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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
岂不比直偷硬取的巧些？’&lt;br /&gt;
&lt;br /&gt;
&amp;quot;You are making this up,&amp;quot; cried Mascara Jade.&amp;quot;I've never heard of &lt;br /&gt;
such a hill.&amp;quot; &amp;quot;Do you know all the hills and streams in the world? Let&lt;br /&gt;
me finish my story before you pull it to pieces.&amp;quot; &amp;quot;Go on, then.&amp;quot;Mascara &lt;br /&gt;
Jade went on,&amp;quot;In Forest Cavern lived a number of rat spirits.One year on the &lt;br /&gt;
seventh day of the twelfth moon,the Rat Patriarch ascended his throne to hold &lt;br /&gt;
a council.He announced,&amp;quot;Tomorrow is the Feast of Winter Gruel when all the men&lt;br /&gt;
on earth will be cooking their sweet gruel.Here in our cave we have few fruits&lt;br /&gt;
of nuts;we must go foraging.&amp;quot; He handed an arrow of command to an able young rat &lt;br /&gt;
and ordered him to go out and reconnoiter.&lt;br /&gt;
&lt;br /&gt;
Soon the young rat returned to report,‘I have made a thorough search and &lt;br /&gt;
inquired far and wide. The best store of grain and dried fruits is to be found&lt;br /&gt;
in the temple at the foot of this hill.'&amp;quot; &amp;quot;How much grain? How much dried fruits?&amp;quot; &amp;quot;A whole granary full of rice and beans past counting, and &lt;br /&gt;
five kinds of dried fruits:dates,chestnuts,peanuts,caltrops and sweet taros.&amp;quot;&lt;br /&gt;
&amp;quot;Delighted by the information,the Patriarch promptly detailed rats to go forth.&lt;br /&gt;
Taking up an arrow of command he asked,‘Who will steal rice?' One rat took the &lt;br /&gt;
arrow and went off. ‘Who will steal the beans?’the Patriarch asked,picking up &lt;br /&gt;
another arrow. Another rat accepted the mission.One by one they went off until &lt;br /&gt;
finally there were only sweet taros left to be stolen. The Patriarch, holding &lt;br /&gt;
an arrow,asked,‘Who will go and steal the taros?' A very small,puny mouse &lt;br /&gt;
volunteered,‘I will go！’Seeing how small and weak she was, the Patriarch &lt;br /&gt;
and the rest of the tribe would not hear of her going, for fear she proved&lt;br /&gt;
unequal to the task.But the little mouse insisted,‘Young and weak as I am,&lt;br /&gt;
I have wonderful magic powers and great eloquence and cunning. I swear to manage&lt;br /&gt;
better than all the rest.’Asked to explain how, she said.‘I shall not steal outright&lt;br /&gt;
like them, but change myself into a sweet taro and mix in a pile of others to &lt;br /&gt;
escape detection.Then I shall spirit the taros away one by one,until there are &lt;br /&gt;
none left. Wouldn't that be more effective than stealing outright?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;You are making this up,&amp;quot; cried Mascara Jade.&amp;quot;I've never heard of &lt;br /&gt;
such a hill.&amp;quot; &amp;quot;Do you know all the hills and streams in the world? Let&lt;br /&gt;
me finish my story before you pull it to pieces.&amp;quot; &amp;quot;Go on, then.&amp;quot;Mascara &lt;br /&gt;
Jade went on,&amp;quot;In Forest Cavern lived a number of rat spirits.One year on the &lt;br /&gt;
seventh day of the twelfth moon,the Rat Patriarch ascended his throne to hold &lt;br /&gt;
a council.He announced,&amp;quot;Tomorrow is the Feast of Winter Gruel when all the men&lt;br /&gt;
on earth will be cooking their sweet gruel.Here in our cave we have few fruits&lt;br /&gt;
of nuts;we must go foraging.&amp;quot; He handed an arrow of command to an able young rat &lt;br /&gt;
and ordered him to go out and reconnoiter.&lt;br /&gt;
&lt;br /&gt;
Soon the young rat returned to report,‘I have made a thorough search and &lt;br /&gt;
inquired far and wide. The best store of grain and dried fruits is to be found&lt;br /&gt;
in the temple at the foot of this hill.'&amp;quot; &amp;quot;How many kinds of grain? How many sorts&lt;br /&gt;
of dried fruits?&amp;quot; &amp;quot;A whole granary full of rice and beans past counting, and &lt;br /&gt;
five kinds of dried fruits:dates,chestnuts,peanuts,caltrops and sweet taros.&amp;quot;&lt;br /&gt;
&amp;quot;Delighted by the information,the Patriarch promptly detailed rats to go forth.&lt;br /&gt;
Taking up an arrow of command he asked, ‘Who will steal rice?' One rat took the &lt;br /&gt;
arrow and went off. ‘Who will steal the beans?’the Patriarch asked,picking up &lt;br /&gt;
another arrow. Another rat accepted the mission.One by one they went off until &lt;br /&gt;
finally there were only sweet taros left to be stolen. The Patriarch, holding &lt;br /&gt;
an arrow,asked,‘Who will go and steal the taros?' A very small,puny mouse &lt;br /&gt;
volunteered,‘I will go！’Seeing how small and weak she was, the Patriarch &lt;br /&gt;
and the rest of the tribe would not hear of her going, for fear she proved&lt;br /&gt;
unequal to the task.But the little mouse insisted,‘Young and weak as I am,&lt;br /&gt;
I have wonderful magic powers and great eloquence and cunning. I swear to manage&lt;br /&gt;
better than all the rest.’Asked to explain how, she said.‘I shall not steal outright&lt;br /&gt;
like them, but change myself into a sweet taro and mix in a pile of others to &lt;br /&gt;
escape detection.Then I shall spirit the taros away one by one,until there are &lt;br /&gt;
none left. Wouldn't that be more effective than stealing outright?&amp;quot;    --Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
&lt;br /&gt;
众耗听了，都道：‘妙却妙，只是不知怎么个变法？你&lt;br /&gt;
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：&lt;br /&gt;
‘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&lt;br /&gt;
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&lt;br /&gt;
果子是香芋，却不知盐课林老爷的小姐才是真正的“香玉”呢。’”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
到这里，只听宝玉房中一片声吵嚷起来。未知何事，下回分解。&lt;br /&gt;
Hearing this, all the people said, 'It's wonderful, but I don't know how to change it. you change first. Let's see. &amp;quot;Hearing this, Xiaohao laughed and said,&amp;quot; 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 &amp;quot;fragrant jade&amp;quot;. '&amp;quot; Hearing this, Mascara Jade Forest turned over and got up. Then Precious Jade Merchant said with a smile, &amp;quot;I slapped you in your mouth! I knew you made fun of me.&amp;quot;. She said and then twisted him. Precious Jade Merchant begged again and again, &amp;quot;Dear sister, please forgive me. Don't dare again!&amp;quot; He begged her forgiveness. While I smelled your fragrance, I was hit by this idea.&amp;quot; Mascara Jade Forest laughed and said, &amp;quot;If you scolded someone, you said it was an literary quotation.&amp;quot;Before she finished speaking, she saw Precious Hairpin Marshgrass coming, smiling and asking, &amp;quot;Who said the literary quotation? Let me hear it.&amp;quot; Mascara Jade Forest sat down hurriedly.She laughed and said, &amp;quot;Who else? He scolded me and said it was the literary quotation.&amp;quot; Precious Jade Merchant said with a smile, &amp;quot;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.&amp;quot; Hearing this, Mascara Jade Forest laughed and said, &amp;quot;Amida Buddha! My good sister, you met the right person. Know a return a report, not good.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Hearing this, all the people said, 'It's wonderful, but I don't know how to change it. you change first. Let's see. &amp;quot;Hearing this, Xiaohao laughed and said,&amp;quot; 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 say is to change the 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 &amp;quot;fragrant jade&amp;quot;. '&amp;quot; Hearing this, Mascara Jade Forest turned over and got up. Then Precious Jade Merchant said with a smile, &amp;quot;I slapped you in your mouth! I knew you made fun of me.&amp;quot;. She said and then twisted him. Precious Jade Merchant begged again and again, &amp;quot;Dear sister, please forgive me. Don't dare again!&amp;quot; He begged her forgiveness. While I smelled your fragrance, I was hit by this idea.&amp;quot; Mascara Jade Forest laughed and said, &amp;quot;If you scolded someone, you said it was a literary quotation.&amp;quot; Before she finished speaking, she saw Precious Hairpin Marshgrass coming, smiling and asking, &amp;quot;Who said the literary quotation? Let me hear it.&amp;quot; Mascara Jade Forest sat down hurriedly. She laughed and said, &amp;quot;Who else? He scolded me and said it was the literary quotation.&amp;quot; Precious Jade Merchant said with a smile, &amp;quot;It's Precious Jade Merchant! It is not his responsibility to 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 memory.&amp;quot; Hearing this, Mascara Jade Forest laughed and said, &amp;quot;Amida Buddha! My good sister, you met the right person. Know a return a report which is not bad.&amp;quot; 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.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:18, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
&lt;br /&gt;
◎第二十回 王熙凤正言弹妒意    林黛玉俏语谑娇音&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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：&lt;br /&gt;
“你不信，只问剐的丫头们。”&lt;br /&gt;
&lt;br /&gt;
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.” &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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 with a grin: “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.” &lt;br /&gt;
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. Yet Nanny Plum leaning on her stick abusing Aroma: “ What a 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. Thanks 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, Nanny; 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 embarrassed, and burst into tears helplessly. &lt;br /&gt;
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.” --[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 10:36, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
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李嬷嬷听了这话，越发气起来了，说道：“你只护着&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
叨说个不了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
拍手笑道：“亏他这一阵风来，把个老婆子撮了去。”&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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.”&lt;br /&gt;
--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 13:52, 28 May 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 07:16, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
面禁不住流泪，又怕宝玉烦恼，只得又勉强忍着。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
毕，贾母犹欲同那几个老管家的嬷嬷斗牌。&lt;br /&gt;
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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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 06:44, 9 June 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
Precious Jade Merchant 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 Merchanthad 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. &lt;br /&gt;
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 Merchant，she fought back her tears.&lt;br /&gt;
Presently the odd-job woman brought in the second dose of medicine. Precious Jade Merchant 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 Merchant 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.&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 06:52, 14 June 2021 (UTC)&lt;br /&gt;
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=Shū Lín  舒琳=&lt;br /&gt;
&lt;br /&gt;
宝玉记着袭人，便回至房中，见袭人&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
服侍了一天，这会子还不叫他们玩玩去？所以我在这里看着。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了帘子，出去了。&lt;br /&gt;
&lt;br /&gt;
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： &amp;quot;How is it you don't go with them?&amp;quot;&lt;br /&gt;
&amp;quot;I've no money,&amp;quot; Musk Deer Month replied.&lt;br /&gt;
&amp;quot;Under the bed,&amp;quot; continued Precious Jade, &amp;quot;is heaped up all that money, and isn't it enough yet for you to lose from?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Had we all gone to play,&amp;quot; Musk Deer Month added, &amp;quot;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.&amp;quot;&lt;br /&gt;
When Precious Jade heard these words, which demonstrated distinctly that she was another Aroma, he consequently put on a smile and remarked： &amp;quot;I'll sit in here, so you had better set your mind at ease and go！&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Since you remain in here, there's less need for me to go,&amp;quot; resumed Musk Deer Month, &amp;quot;for we two can chat and play and laugh; and won't that be nice?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What can we two do? it will be awfully dull！ but never mind,&amp;quot; Precious Jade rejoined; &amp;quot;this morning you said that your head itched, and now that you have nothing to do, I may as well comb it for you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Yes！ do so！&amp;quot; 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： &amp;quot;You haven't as yet drunk from the marriage cup,&amp;quot; she said with a smile full of irony, &amp;quot;and have you already put up your hair?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Now that you've come, let me also comb yours for you,&amp;quot; Precious Jade continued. &amp;quot;I'm not blessed with such excessive good fortune！&amp;quot; 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.&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 03:33, 5 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade, with Aroma in mind, 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 time was yet early. And as about this time Sunny Cloud Formation, Rosy Clouds, 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： &amp;quot;How is it you don't go with them?&amp;quot; &amp;quot;I've no money,&amp;quot; Musk Deer Month replied. &amp;quot;Under the bed,&amp;quot; continued Precious Jade, &amp;quot;is heaped up all that money, and isn't it enough yet for you to lose from?&amp;quot; &amp;quot;Had we all gone to play,&amp;quot; Musk Deer Month added, &amp;quot;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 here on watch.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
When Precious Jade heard these words, which demonstrated distinctly that she was another Aroma, he consequently put on a smile and remarked: &amp;quot;I'll sit in here, so you could set your mind at ease and go！&amp;quot;&amp;quot;Since you stay here, there's less need for me to go,&amp;quot; resumed Musk Deer Month, &amp;quot;for we two can chat and play and laugh; and won't that be nice?&amp;quot;&amp;quot;What can we two do? It will be awfully dull. But never mind,&amp;quot; Precious Jade rejoined; &amp;quot;this morning you said that your head itched, and now that you have nothing to do, I may as well comb it for you.&amp;quot;&amp;quot;Yes! That would be fine!&amp;quot; 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: &amp;quot;You haven't as yet drunk from the marriage cup,&amp;quot; she said with a smile full of irony, &amp;quot;and have you already put up your hair?&amp;quot;&amp;quot;Now that you've come, let me also comb yours for you,&amp;quot; Precious Jade continued. &amp;quot;I'm not blessed with such excessive good fortune!&amp;quot; Sunny Cloud Formation retorted, and as she uttered these words, she took the money and dropped the curtain, going out angrily.&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 03:19, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
侍他睡下，不肯惊动袭人。一宿无话。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
宝玉放了心，因饭后走到薛姨妈这边来闲逛。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
起骰子，然后就拿钱，说是个六点。莺儿便说：“明明是个幺。”&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Precious Hairpin always looked at him like Precious jade, having nothing else in his mind;Today hearing that he wanted to play with them, so she let him sit up and play together. Ten coins for one lei. For the first time, he won, the heart being very happy. Who knows that later, he lost a few in succession and began to worry. Coincidentally, this time he threw the dice. He would win if he threw a seven or a six, but would fail if it was three.&lt;br /&gt;
&lt;br /&gt;
He picked up the dice and gave them a hard roll, one sitting on two, the other spinning. Maid Oriole clapped his hands and said &amp;quot;the smallest one&amp;quot;, while Ring Merchant stared and mixed &amp;quot;Six&amp;quot;, &amp;quot;Seven&amp;quot; and &amp;quot;Eight&amp;quot;. Ring Merchant became angry and grabbed the money directly, saying that he got a six. Maid Oriole said, that must be the smallest one!&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 23:21, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade stood behind Musk Deer Month, who sat in front of the mirror. Their eyesight met in the mirror. Precious Jade smiled to 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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Precious Hairpin has always regarded him as Precious Jade and have no other thoughts about him; today hearing that he wanted to play with them, so she let him sit up and play together. Ten coins for one lei. For the first time, he won, the heart being very happy. Who knows that later, he lost a few in succession and began to worry. Coincidentally, this time he threw the dice. He would win if he threw a seven or a six, but would fail if it was three.&lt;br /&gt;
&lt;br /&gt;
He picked up the dice and gave them a hard roll, one sitting on two, the other spinning. Maid Oriole clapped his hands and said &amp;quot;the smallest one&amp;quot;, while Ring Merchant stared and mixed &amp;quot;Six&amp;quot;, &amp;quot;Seven&amp;quot; and &amp;quot;Eight&amp;quot;. Ring Merchant became angry and grabbed the money directly, saying that he got a six. Maid Oriole said, that must be the smallest one!&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 23:29, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
&lt;br /&gt;
宝钗见贾环急了，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
环等都不怕他，却怕贾母，才让他三分。&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;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 always 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. &lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
 &lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;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 bad one and go for the good 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. &lt;br /&gt;
&lt;br /&gt;
At the 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 on 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 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 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.”&lt;br /&gt;
 &lt;br /&gt;
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 not object.“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:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 05:05, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
&lt;br /&gt;
因问贾环：“你输了多少&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
在话下。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
Splendid Phoenix asked Ring Merchant:&amp;quot; how much have you lost?&amp;quot; Hearing this, he answered cautiously:&amp;quot; a hundred or two hundred dollars。” &amp;quot;Anyhow you are still a man, how can you be like this just because of losing  a hundred or two hundred dollars!&amp;quot; Sister Phoenix said and then turned back, shouting:&amp;quot; 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.&amp;quot; Splendid Phoenix scolded:&amp;quot; go away!&amp;quot; Getting the money, he followed Abundance obediently and played with Spring Pleasure.&lt;br /&gt;
&lt;br /&gt;
Just then Precious Jade was making fun of  Precious Hairpin, when suddenly someone said, &amp;quot;Here comes Miss History.&amp;quot; Hearing it, he stood up, ready to go.  Precious Hairpin said with a smile, &amp;quot;Wait, let's go together and see her&amp;quot;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:&amp;quot; where are you come from?&amp;quot; &amp;quot;Just  From Precious Hairpin`s house.&amp;quot;   said Precious Jade. Precious Hairpin said with a sneer: &amp;quot;You should have stayed there, or you would have flown here.&amp;quot; said Precious Jade, &amp;quot;I can only play with you to relieve your boredom.  I go to her house only once, and you say so.&amp;quot;  &amp;quot;What nonsense!&amp;quot; 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!&amp;quot;  &amp;quot;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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix asked Ring Merchant:&amp;quot; how much have you lost?&amp;quot; Hearing this, he answered cautiously:&amp;quot; one hundred or two hundred dollars.” &amp;quot;Anyhow you are still a man, how can you be like this just because of losing one hundred or two hundred dollars!&amp;quot; Sister Phoenix said and then turned back, shouting:&amp;quot; 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.&amp;quot; Sister Phoenix scolded:&amp;quot; go away!&amp;quot; Getting the money, he followed Abundance obediently and played with Spring Pleasure.&lt;br /&gt;
&lt;br /&gt;
Just then Precious Jade was making fun of Precious Hairpin, when suddenly someone said, &amp;quot;Here comes Miss History.&amp;quot; Hearing it, he stood up, ready to go. Precious Hairpin said with a smile, &amp;quot;Wait, let's go together and see her.&amp;quot; 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:&amp;quot; where are you come from?&amp;quot; &amp;quot;Just  From Precious Hairpin`s house.&amp;quot; said Precious Jade. Mascara Jade said with a sneer: &amp;quot;No surprise. You must have stayed there. Otherwise, you would have already flown here.&amp;quot; &amp;quot;I can only play with you to relieve your boredom. I go to her house only once, and you say so.&amp;quot; said Precious Jade. &amp;quot;What nonsense!&amp;quot;, 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!&amp;quot; Then she went back to her room in a fit of pique.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 05:14, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
闷，只向窗前流泪。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
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’&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
处长大的，他是才来的，岂有个为他疏你的？”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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?”&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 13:21, 1 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
&lt;br /&gt;
黛玉啐道：“我难道叫你疏他？我&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
黛玉叹道：“回来伤了风，又该饿着吵吃的了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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’&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
下回分解。&lt;br /&gt;
&lt;br /&gt;
“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.”&lt;br /&gt;
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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Mascara Jade spat and said, “Do I want you to be less close to her? What do you take me for? It’s just that my feelings are hurt.” Precious Jade answered that, “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, you’ll be the devil to pay.” &lt;br /&gt;
&lt;br /&gt;
They were interrupted by Fragrant-cloud’s arrival. “Why, Love Brother and Sister Lin!” she cried cheerfully. Mascara Jade laughed, “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.&amp;quot; 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 Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 15:08, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
&lt;br /&gt;
◎第二十一回 贤袭人娇嗔箴宝玉  俏平儿软语救贾琏&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
云仍往黛玉房中安歇。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
两个金镯子。&lt;br /&gt;
&lt;br /&gt;
Prudent Aroma Gently Takes Precious Jade to Pretty Patience Quietly Comes to Romance Merchant's Rescue&lt;br /&gt;
&lt;br /&gt;
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” counted Precious Jade, ”She wouldn’t if you hadn’t tease 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 room. 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 room.&lt;br /&gt;
&lt;br /&gt;
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 in to 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.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
&lt;br /&gt;
宝玉见了叹道：“睡觉还是不老实！回来风吹了，又嚷肩窝疼&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
早晚还早呢！你起来瞧瞧。”黛玉道：“你先出去，让我们起来。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
便要手巾。翠缕道：“还是这个毛病儿，多早晚才改呢。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“妹妹”的央告。&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
Mascara Jade, awake now, had sensed someone’s presence and guessed that it was Precious Jade. Looking round to make sure she asked:&lt;br /&gt;
“What are you doing here so early?”&lt;br /&gt;
“Early? Get up and see what time it is.”&lt;br /&gt;
“You’d better go outside if you want us to get up.&lt;br /&gt;
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.&lt;br /&gt;
When Fragrant-cloud finished washing. Kingfisher picked up the basin to empty it.&lt;br /&gt;
“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.&lt;br /&gt;
“Still up to your old tricks,” teased Kingfisher, “Will you never grow up?”&lt;br /&gt;
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?”&lt;br /&gt;
“I can’t,” she said.&lt;br /&gt;
“Dear cousin, you did before,” he coaxed with a smile.&lt;br /&gt;
“Well, now I’ve forgotten how to.”&lt;br /&gt;
“I’m not going out today anyway, and I’m not going to wear a cap, he persisted. “Just plait it anyhow.”&lt;br /&gt;
He coaxed and wheedled her with endless terms of endearment.&lt;br /&gt;
&lt;br /&gt;
“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)&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
&lt;br /&gt;
湘云只得扶过他的头来一一梳篦。在家不戴冠子，并不总角，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
进的毛病儿，多早晚才改！”&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
言中，套问他年纪家乡等语，留神窥察其言语志量，深可敬爱。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.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. →He did not wear a 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. &lt;br /&gt;
&lt;br /&gt;
2.This braid was decorated with four pearls and had a golden pendant at the end.→This braid was decorated with four pearls, with a golden pendant at the end.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:50, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
理我罢，我也睡去。”说着，便起身下炕，到自己床上睡下。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
你劝我的是什么话儿？”袭人道：“你心里还不明白？还等我说呢！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
But in a while Precious Jade arrived， and Precious Hairpin at once quitted the apartment. &amp;quot;How is it，&amp;quot; Precious Jade at once inquired，&amp;quot;that cousin Precious Hairpin was chatting along with you so lustily， and that as soon as she saw me enter， she promptly ran away？&amp;quot;&lt;br /&gt;
Aroma did not make any reply to his first question， and it was only when he had repeated it that Aroma remarked： &amp;quot;Do you ask me？ How can I know what goes on between you two？&amp;quot;&lt;br /&gt;
When Precious Jade heard these words， and he noticed that the look on her face was so unlike that of former days， he lost no time in putting on a smile and asking： &amp;quot;Why is it that you too are angry in real earnest？&amp;quot;&lt;br /&gt;
&amp;quot;How could I presume to get angry！&amp;quot; Aroma rejoined smiling indifferently； &amp;quot;but you mustn't， from this day forth， put your foot into this room！ and as you have anyhow people to wait on you， you shouldn't come again to make use of my services， for I mean to go and attend to our old mistress， as in days of old.&amp;quot;&lt;br /&gt;
With this remark still on her lips， she lay herself down on the stove-couch and closed her eyes. When Precious Jade perceived the state of mind she was in， he felt deeply surprised and could not refrain from coming forward and trying to cheer her up. But Aroma kept her eyes closed and paid no heed to him， so that Precious Jade was quite at a loss how to act. But espying Musk Deer Month enter the room， he said with alacrity： &amp;quot;What's up with your sister？&amp;quot;&lt;br /&gt;
&amp;quot;Do I know？&amp;quot; answered Musk Deer Month， &amp;quot;examine your own self and you'll readily know！&amp;quot; After these words had been heard by Precious Jade， he gazed vacantly for some time， feeling the while very unhappy； but raising himself impetuously： &amp;quot;Well！&amp;quot; he exclaimed， &amp;quot;if you don't notice me， all right， I too will go to sleep，&amp;quot;&lt;br /&gt;
&lt;br /&gt;
And as he spoke he got up， and， descending from the couch， he betook himself to his own bed and went to sleep. Aroma noticing that he had not budged for ever so long， and that he faintly snored， presumed that he must have fallen fast asleep， so she speedily rose to her feet， and， taking a wrapper， came over and covered him. But a sound of &amp;quot;hu&amp;quot; reached her ear， as Precious Jade promptly threw it off and once again closed his eyes and feigned sleep. Aroma distinctly grasped his idea and， forthwith nodding her head， she smiled coldly. &amp;quot;You really needn't lose your temper！ but from this time forth， I'll become mute， and not say one word to you； and what if I do？&amp;quot;&lt;br /&gt;
Precious Jade could not restrain himself from rising. &amp;quot;What have I been up to again，&amp;quot; he asked， &amp;quot;that you're once more at me with your advice？ As far as your advice goes， it's all well and good； but just now without one word of counsel， you paid no heed to me when I came in， but， flying into a huff， you went to sleep. Nor could I make out what it was all about， and now here you are again maintaining that I'm angry. But when did I hear you， pray， give me a word of advice of any kind？&amp;quot;&lt;br /&gt;
&amp;quot;Doesn't your mind yet see for itself？&amp;quot; Aroma replied； &amp;quot;and do you still expect me to tell you？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
去，说：“不敢惊动你们。”麝月只得笑着出来，唤两个小丫头进来。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
香道：“四个。”宝玉道：“你第几个？”慧香道：“第四。”宝玉道：“明日就叫‘四&lt;br /&gt;
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。”&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
甚。&lt;br /&gt;
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, &amp;quot;Don't dare to disturb you.&amp;quot; Musk Deer Moon smiled with meekness and called two little girl to come in.&lt;br /&gt;
 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, &amp;quot;What's your name?&amp;quot; That girl replied: &amp;quot; Rolfe Fragnance (Cymbidium faberi Rolfe)&amp;quot;  Precious Jade asked again: &amp;quot;Who gave you this name? Rolfe Fragnance said: &amp;quot;My original name was'Ruta Fragnance(Ruta graveolens L), which was changed by Sister Flower. Precious Jade said: &amp;quot;Seriously? it should be called ‘bad luck’,  not ‘Roofe Fragnance’. How many sisters do you have?&amp;quot; Rolfe Fragnance said: “Four.” Precious Jade said: &amp;quot;Which one are you?&amp;quot; Rolfe Fragnance said: &amp;quot;Fourth. “ Precious Jade said, &amp;quot;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 .&amp;quot; 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. .&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;Don't dare to disturb you.&amp;quot; Musk Deer Moon smiled with meekness and called two little girls to come in.&lt;br /&gt;
 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, &amp;quot;What's your name?&amp;quot; That girl replied: &amp;quot; Rolfe Fragrance (Cymbidium faber Rolfe)&amp;quot;Precious Jade asked again: &amp;quot;Who gave you this name? Rolfe Fragrance said: &amp;quot;My original name was Ruta Fragrance (Ruta graveolens L), which was changed by Sister Flower. Precious Jade said: &amp;quot;Seriously? it should be called ‘bad luck’, not ‘Roof Fragrance’. How many sisters do you have?&amp;quot; Rolfe Fragrance said: “Four.” Precious Jade said: &amp;quot;Which one are you?&amp;quot; Rolfe Fragrance said: &amp;quot;Fourth. “Precious Jade said, &amp;quot;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 .&amp;quot; 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. .&lt;br /&gt;
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.”&lt;br /&gt;
----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
箧》一则，其文曰：&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
      &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
看至此，意趣洋洋，趁着酒兴，不禁提笔续曰：&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
其邃，所以迷眩缠陷天下者也。&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“起来好生睡，看冻着了。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
料他不过半日片刻，仍复好了。&lt;br /&gt;
&lt;br /&gt;
“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: &lt;br /&gt;
Do away with sages and wise men, and great robbers will disappear. &lt;br /&gt;
Destroy jade and pearls, and no petty thieves will arise.&lt;br /&gt;
Bum tallies and smash seals, and the people will revert to their natural simplicity. &lt;br /&gt;
Break measures and scales, and they will no longer quarrel. &lt;br /&gt;
Abolish all the sacred laws of the world and the people will discuss things freely. &lt;br /&gt;
Confuse the musical scales, break harps and lutes, &lt;br /&gt;
Stop the ears of good musicians, and all men under heaven will learn to hear for themselves.&lt;br /&gt;
Dispense with ornaments and colored patterns; &lt;br /&gt;
Glue up the eyes of the keen-sighted, and all men under heaven will learn to see for themselves.&lt;br /&gt;
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.”&lt;br /&gt;
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:&lt;br /&gt;
Burn the flower (Aroma), get rid of the musk (Musk Deer Month), and those in the inner apartments will keep their advice to themselves.&lt;br /&gt;
Spoil the beauty of the precious trinket (Precious Hairpin), dull the intelligence of the black jade (Mascara Jade Forest).&lt;br /&gt;
Do away with affection, and in the inner chambers fair and foul will then be on an equal footing.&lt;br /&gt;
Advice kept to oneself does away with the danger of discord;&lt;br /&gt;
Beauty marred obviates affection;&lt;br /&gt;
intelligence dulled cuts out admiration for talents.&lt;br /&gt;
For trinket, jade, flower and musk are alike spreading nets and laying traps to ensnare and bewitch all men under heaven...&lt;br /&gt;
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. &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
“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)&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
&lt;br /&gt;
不想宝玉日夜竟不回转，自己反不得主意，直一&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
‘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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
来洗脸去罢。”说着，二人方起来梳洗。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;What's the real matter?&amp;quot; After repeating several times, Aroma opened her eyes and said, &amp;quot;Nothing. If you are awake, go over that room to wash before it's too late. &amp;quot; Precious Jade asked, &amp;quot;Where am I going?&amp;quot; Aroma snorted, &amp;quot;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. &amp;quot; 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. &amp;quot; Precious Jade laughed and said, &amp;quot;you still remember that?&amp;quot; Aroma answered, &amp;quot;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. &amp;quot; 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, &amp;quot;May the thing happen to me if I don't listen to you in the future. &amp;quot; Aroma hurried to pick the hairpin pieces up and said, &amp;quot;How could you say that in the morning. It doesn't matter whether you listen to me. It's not worty to do this.&amp;quot; Precious Jade said, &amp;quot;You don't know how bad I feel. &amp;quot; Aroma said, &amp;quot;You can feel bad too? So how do you think I feel? Hurry up and get dressed now.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;What's the real matter?&amp;quot; After his repeating several times, Aroma opened her eyes and said, &amp;quot;Nothing. If you are awake, go over that room to wash before it's too late.&amp;quot; Precious Jade asked, &amp;quot;Where am I going?&amp;quot; Aroma snorted, &amp;quot;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. &amp;quot;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.&amp;quot; Precious Jade laughed and said, &amp;quot;you still remember that?&amp;quot; Aroma answered, &amp;quot;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.&amp;quot; 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, &amp;quot;May the thing happen to me if I don't listen to you in the future. &amp;quot; Aroma hurried to pick the hairpin pieces up and said, &amp;quot;How could you say that in the morning. It doesn't matter whether you listen to me. It's not worthy to do this.&amp;quot; Precious Jade said, &amp;quot;You don't know how bad I feel. &amp;quot; Aroma said, &amp;quot;Can you feel bad too? So how do you think I feel? Hurry up and get dressed now.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
&lt;br /&gt;
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：&lt;br /&gt;
        &lt;br /&gt;
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！&lt;br /&gt;
题毕，也往上房来见贾母，后往王夫人处来。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
有肉有钱，便诸事不管了。&lt;br /&gt;
&lt;br /&gt;
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! &lt;br /&gt;
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)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210526_culture&amp;diff=123423</id>
		<title>20210526 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210526_culture&amp;diff=123423"/>
		<updated>2021-06-16T05:50:04Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
   &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
的睡去了。&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;What an old pest she is!&amp;quot; one muttered. &amp;quot;Is that a bowl of junket?&amp;quot; asked Nanny Plum. &amp;quot;Why didn’t you send it over to me? I’d better eat it here right now.&amp;quot; She picked up a spoon and started eating it. &amp;quot;You leave that alone!&amp;quot; cried one girl. &amp;quot;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.” &amp;quot;I can’t believe it of him.&amp;quot; Nanny Plum was both indignant and embarrassed. &amp;quot;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.&amp;quot; With that, in a huff, she finished off the junket. They’ve no manners,&amp;quot; said another maid soothingly. &amp;quot;I don' 't wonder you’re cross, granny. Precious Jade often sends you presents. This isn’t going to upset him.&amp;quot; &amp;quot;You don’t have to humor me in that sly way,' Nanny Li snorted. &amp;quot;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.&amp;quot; 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. &amp;quot;Is she ill?&amp;quot; he asked. Or did she lose some game?&amp;quot; &amp;quot;She was winning,&amp;quot; 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.&amp;quot; &lt;br /&gt;
&amp;quot;You mustn't take Nanny Li so seriously&amp;quot; Precious Jade smiled. &amp;quot;Just leave her alone.”&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;What an old pest she is!&amp;quot; one muttered. &amp;quot;Is that a bowl of junket?&amp;quot; asked Nanny Plum. &amp;quot;Why didn’t you send it over to me? I’d better eat it here right now.&amp;quot; She picked up a spoon and started eating it. &amp;quot;You leave that alone!&amp;quot; cried one girl. &amp;quot;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.” &amp;quot;I can’t believe it of him.&amp;quot; Nanny Plum was both indignant and embarrassed. &amp;quot;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.&amp;quot; With that, in a huff, she finished off the junket. They’ve no manners,&amp;quot; said another maid soothingly. &amp;quot;I don' 't wonder you’re cross, granny. Precious Jade often sends you presents. This isn’t going to upset him.&amp;quot; &amp;quot;You don’t have to humor me in that sly way,' Nanny Plum snorted. &amp;quot;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.&amp;quot; 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. &amp;quot;Is she ill?&amp;quot; he asked. Or did she lose some game?&amp;quot; &amp;quot;She was winning,&amp;quot; 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.&amp;quot; &lt;br /&gt;
&amp;quot;You mustn't take Nanny Plum so seriously&amp;quot; Precious Jade smiled. &amp;quot;Just leave her alone.”--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 10:22, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;What an old pest she is!&amp;quot; one muttered. &amp;quot;Is that a bowl of junket?&amp;quot; asked Nanny Plum. &amp;quot;Why didn’t you send it over to me? I’d better eat it here right now.&amp;quot; She picked up a spoon and started eating it. &amp;quot;You leave that alone!&amp;quot; cried one girl. &amp;quot;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.” &amp;quot;I can’t believe it of him.&amp;quot; Nanny Plum was both indignant and embarrassed. &amp;quot;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.&amp;quot; &lt;br /&gt;
With that, in a huff, she finished off the junket. “They’ve no manners,&amp;quot; said another maid soothingly. &amp;quot;I don' 't wonder you’re cross, nanny. Precious Jade often sends you presents. This isn’t going to upset him.&amp;quot; &amp;quot;You don’t have to humor me in that sly way,' Nanny Li snorted. &amp;quot;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.&amp;quot; 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. &amp;quot;Is she ill?&amp;quot; he asked. Or did she lose some games?&amp;quot; &amp;quot;She was winning,&amp;quot; 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.&amp;quot; &amp;quot;You mustn't take Nanny Plum so seriously&amp;quot; Precious Jade smiled. &amp;quot;Just leave her alone.”--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 06:39, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“你们别和他一般见识，由他去就是了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
遭塌了。我只想风干栗子吃，你替我剥栗子，我去铺床。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
花几两银子买他们进来就是了。”&lt;br /&gt;
&lt;br /&gt;
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?”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Precious Jade laughed: “Don’t stoop down to their level, and just let them be.” &lt;br /&gt;
&lt;br /&gt;
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?”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
&lt;br /&gt;
宝玉笑道：“你说的话怎么叫人答言呢？我不&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
妆都齐备了，明年就出嫁。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
多。&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Dèng Dān 邓丹=&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
着便赌气上床睡了。&lt;br /&gt;
&lt;br /&gt;
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。”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
&lt;br /&gt;
又&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
死了，再不必起赎我的念头！”因此哭闹了一阵。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了，知其情有不忍，气已馁堕。&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
&lt;br /&gt;
自己原不想栗子吃，只因怕为酥酪生事，又像那&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了，刀搁在脖子上，我也是不出去的了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“改了，再说你就拧嘴。还有什么？”&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;what's so sad about this? If you want me to stay, I won't go out. &amp;quot; There was room for Precious Jade Merchant's words to turn around, so he said, &amp;quot;tell me, how can I keep you? I don't know what to do myself Aroma said with a smile: &amp;quot;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. &amp;quot;&lt;br /&gt;
 &lt;br /&gt;
Precious Jade Merchant immediately said with a smile, &amp;quot;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. &amp;quot;&lt;br /&gt;
 &lt;br /&gt;
Aroma quickly covered his mouth and said, &amp;quot;OK, OK! I'm trying to persuade you not to say that again. &amp;quot; Precious Jade Merchant said: &amp;quot;don't say that again.&amp;quot; &amp;quot;This is the first thing to change,&amp;quot; he said Precious Jade Merchant said: &amp;quot;if you change it, you can screw my mouth. What else? &amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
别人怎么想你？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
个道理，纵坐了也没甚趣。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
宽衣安歇，不在话下。&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
好，刚服下去，命他盖上被窝渥汗，宝玉自去黛玉房中来看视。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
&lt;br /&gt;
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,&amp;quot; It is just a small fever. Taking one dose or two doses of medicine is enough to cure it.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;My dear sister, you just finished my dinner. And then you sleep.&amp;quot;, and woke Mascara Jade up. Mascara Jade found that it was Precious Jade , saying that,&amp;quot; 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.&amp;quot; Precious Jade answered,&amp;quot; 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.&amp;quot;, pushing her and continuing to say,&amp;quot; Where should I go? I always feel bored to meet others.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Hearing these words, Mascara Jade laughed with a &amp;quot;Chi&amp;quot;. She said,&amp;quot; If you want to stay here, go to that side and sit sill. Let's have a chat. Precious Jade said,&amp;quot; I want to lie down,too.&amp;quot; Mascara Jade replied,&amp;quot; Then you can lie down.&amp;quot; Precious Jade said,&amp;quot; There is no more pillow. Let's sleep on the same pillow.&amp;quot; Mascara Jade said,&amp;quot; Bosh! Isn't a pillow it the outer room?&amp;quot; Take that one to sleep on.&amp;quot; Precious Jade walked to the outer room and looked around the room. He came back laughing,&amp;quot; I don't want that one. It must belong to some old dirty woman.&amp;quot; Hearing this, Mascara Jade opened her eyes, got up with a smile and said,&amp;quot; You are the real unbeatable rival in my life. Sleep on this one. Please!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
舌讨好，吹到舅舅耳朵里，又大家不干净惹气。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
可不饶你了！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;Whose nail has scratched this open?&amp;quot; Precious Jade with his body still reclining and withdrawing from her reach, as he did so, he answered with a smile: &amp;quot;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.&amp;quot; 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: &amp;quot; 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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;At such a time at this, who keeps scents at one's side?&amp;quot; &amp;quot;Well, in that case,&amp;quot; Precious Jade rejoined with a smirking face, &amp;quot;where does this scent come from?&amp;quot; &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;It may not,&amp;quot; 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!&amp;quot; &amp;quot;Is it likely that I have, like others Buddhistic disciples,&amp;quot; Mascara Jade asked and laughed ironically, &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Whenever I uttered any single remark,&amp;quot; Precious Jade urged with a grin, &amp;quot;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!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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 a button on the left side of his face. She speedily bent her body and drew near to him. She rubbed it with her hand, then she scrutinized it closely. She went on to inquire, &amp;quot;Whose nail has scratched this open?&amp;quot; Precious Jade with his body still reclining and withdrawing from her reach, as he did so, he answered with a smile: &amp;quot;It isn't a scratch; I presume it must be a simple drop which spattered on my cheek when I was mixing and clarifying the cosmetic paste for them just now.&amp;quot; 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: &amp;quot; 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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Precious Jade did not hear what she said, she was being intent to smell 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: &amp;quot;At such a time at this, who keeps scents at one's side?&amp;quot; &amp;quot;Well, in that case,&amp;quot; Precious Jade rejoined with a smirking face, &amp;quot;where does this scent come from?&amp;quot; &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;It may not,&amp;quot; Precious Jade added and he shook his head; this smell is very peculiar and doesn't resemble the perfume of scent-bottles, scent-balls, or scented sachets!&amp;quot; &amp;quot;Is it likely that I have, like others Buddhistic disciples,&amp;quot; Mascara Jade asked and laughed ironically, &amp;quot;or worthies to give me these 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.&amp;quot;--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 12:04, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
道：“再不敢了。”一面理鬓笑道：“我有奇香，你有‘暖香’没有？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
脸。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
道：“扬州有一座黛山，山上有个林五洞，……”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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?&lt;br /&gt;
&lt;br /&gt;
“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.”&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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 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. “If you say I have an unusual scent, have you a warm scent?&lt;br /&gt;
&lt;br /&gt;
“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 then understood her 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 tease,” she cried hastily “All right, I’ll forgive you if you let me smell your sleeve.” So,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.” “I can’t. Let’s lie down in a civilized way and chat.”&lt;br /&gt;
&lt;br /&gt;
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.--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 09:50, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
&lt;br /&gt;
黛玉笑道：“这就扯谎，自来也没&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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。’&lt;br /&gt;
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：&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
‘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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
岂不比直偷硬取的巧些？’&lt;br /&gt;
&lt;br /&gt;
&amp;quot;You are making this up,&amp;quot; cried Mascara Jade.&amp;quot;I've never heard of &lt;br /&gt;
such a hill.&amp;quot; &amp;quot;Do you know all the hills and streams in the world? Let&lt;br /&gt;
me finish my story before you pull it to pieces.&amp;quot; &amp;quot;Go on, then.&amp;quot;Mascara &lt;br /&gt;
Jade went on,&amp;quot;In Forest Cavern lived a number of rat spirits.One year on the &lt;br /&gt;
seventh day of the twelfth moon,the Rat Patriarch ascended his throne to hold &lt;br /&gt;
a council.He announced,&amp;quot;Tomorrow is the Feast of Winter Gruel when all the men&lt;br /&gt;
on earth will be cooking their sweet gruel.Here in our cave we have few fruits&lt;br /&gt;
of nuts;we must go foraging.&amp;quot; He handed an arrow of command to an able young rat &lt;br /&gt;
and ordered him to go out and reconnoiter.&lt;br /&gt;
&lt;br /&gt;
Soon the young rat returned to report,‘I have made a thorough search and &lt;br /&gt;
inquired far and wide. The best store of grain and dried fruits is to be found&lt;br /&gt;
in the temple at the foot of this hill.'&amp;quot; &amp;quot;How much grain? How much dried fruits?&amp;quot; &amp;quot;A whole granary full of rice and beans past counting, and &lt;br /&gt;
five kinds of dried fruits:dates,chestnuts,peanuts,caltrops and sweet taros.&amp;quot;&lt;br /&gt;
&amp;quot;Delighted by the information,the Patriarch promptly detailed rats to go forth.&lt;br /&gt;
Taking up an arrow of command he asked,‘Who will steal rice?' One rat took the &lt;br /&gt;
arrow and went off. ‘Who will steal the beans?’the Patriarch asked,picking up &lt;br /&gt;
another arrow. Another rat accepted the mission.One by one they went off until &lt;br /&gt;
finally there were only sweet taros left to be stolen. The Patriarch, holding &lt;br /&gt;
an arrow,asked,‘Who will go and steal the taros?' A very small,puny mouse &lt;br /&gt;
volunteered,‘I will go！’Seeing how small and weak she was, the Patriarch &lt;br /&gt;
and the rest of the tribe would not hear of her going, for fear she proved&lt;br /&gt;
unequal to the task.But the little mouse insisted,‘Young and weak as I am,&lt;br /&gt;
I have wonderful magic powers and great eloquence and cunning. I swear to manage&lt;br /&gt;
better than all the rest.’Asked to explain how, she said.‘I shall not steal outright&lt;br /&gt;
like them, but change myself into a sweet taro and mix in a pile of others to &lt;br /&gt;
escape detection.Then I shall spirit the taros away one by one,until there are &lt;br /&gt;
none left. Wouldn't that be more effective than stealing outright?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;You are making this up,&amp;quot; cried Mascara Jade.&amp;quot;I've never heard of &lt;br /&gt;
such a hill.&amp;quot; &amp;quot;Do you know all the hills and streams in the world? Let&lt;br /&gt;
me finish my story before you pull it to pieces.&amp;quot; &amp;quot;Go on, then.&amp;quot;Mascara &lt;br /&gt;
Jade went on,&amp;quot;In Forest Cavern lived a number of rat spirits.One year on the &lt;br /&gt;
seventh day of the twelfth moon,the Rat Patriarch ascended his throne to hold &lt;br /&gt;
a council.He announced,&amp;quot;Tomorrow is the Feast of Winter Gruel when all the men&lt;br /&gt;
on earth will be cooking their sweet gruel.Here in our cave we have few fruits&lt;br /&gt;
of nuts;we must go foraging.&amp;quot; He handed an arrow of command to an able young rat &lt;br /&gt;
and ordered him to go out and reconnoiter.&lt;br /&gt;
&lt;br /&gt;
Soon the young rat returned to report,‘I have made a thorough search and &lt;br /&gt;
inquired far and wide. The best store of grain and dried fruits is to be found&lt;br /&gt;
in the temple at the foot of this hill.'&amp;quot; &amp;quot;How many kinds of grain? How many sorts&lt;br /&gt;
of dried fruits?&amp;quot; &amp;quot;A whole granary full of rice and beans past counting, and &lt;br /&gt;
five kinds of dried fruits:dates,chestnuts,peanuts,caltrops and sweet taros.&amp;quot;&lt;br /&gt;
&amp;quot;Delighted by the information,the Patriarch promptly detailed rats to go forth.&lt;br /&gt;
Taking up an arrow of command he asked, ‘Who will steal rice?' One rat took the &lt;br /&gt;
arrow and went off. ‘Who will steal the beans?’the Patriarch asked,picking up &lt;br /&gt;
another arrow. Another rat accepted the mission.One by one they went off until &lt;br /&gt;
finally there were only sweet taros left to be stolen. The Patriarch, holding &lt;br /&gt;
an arrow,asked,‘Who will go and steal the taros?' A very small,puny mouse &lt;br /&gt;
volunteered,‘I will go！’Seeing how small and weak she was, the Patriarch &lt;br /&gt;
and the rest of the tribe would not hear of her going, for fear she proved&lt;br /&gt;
unequal to the task.But the little mouse insisted,‘Young and weak as I am,&lt;br /&gt;
I have wonderful magic powers and great eloquence and cunning. I swear to manage&lt;br /&gt;
better than all the rest.’Asked to explain how, she said.‘I shall not steal outright&lt;br /&gt;
like them, but change myself into a sweet taro and mix in a pile of others to &lt;br /&gt;
escape detection.Then I shall spirit the taros away one by one,until there are &lt;br /&gt;
none left. Wouldn't that be more effective than stealing outright?&amp;quot;    --Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
&lt;br /&gt;
众耗听了，都道：‘妙却妙，只是不知怎么个变法？你&lt;br /&gt;
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：&lt;br /&gt;
‘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&lt;br /&gt;
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&lt;br /&gt;
果子是香芋，却不知盐课林老爷的小姐才是真正的“香玉”呢。’”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
到这里，只听宝玉房中一片声吵嚷起来。未知何事，下回分解。&lt;br /&gt;
Hearing this, all the people said, 'It's wonderful, but I don't know how to change it. you change first. Let's see. &amp;quot;Hearing this, Xiaohao laughed and said,&amp;quot; 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 &amp;quot;fragrant jade&amp;quot;. '&amp;quot; Hearing this, Mascara Jade Forest turned over and got up. Then Precious Jade Merchant said with a smile, &amp;quot;I slapped you in your mouth! I knew you made fun of me.&amp;quot;. She said and then twisted him. Precious Jade Merchant begged again and again, &amp;quot;Dear sister, please forgive me. Don't dare again!&amp;quot; He begged her forgiveness. While I smelled your fragrance, I was hit by this idea.&amp;quot; Mascara Jade Forest laughed and said, &amp;quot;If you scolded someone, you said it was an literary quotation.&amp;quot;Before she finished speaking, she saw Precious Hairpin Marshgrass coming, smiling and asking, &amp;quot;Who said the literary quotation? Let me hear it.&amp;quot; Mascara Jade Forest sat down hurriedly.She laughed and said, &amp;quot;Who else? He scolded me and said it was the literary quotation.&amp;quot; Precious Jade Merchant said with a smile, &amp;quot;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.&amp;quot; Hearing this, Mascara Jade Forest laughed and said, &amp;quot;Amida Buddha! My good sister, you met the right person. Know a return a report, not good.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Hearing this, all the people said, 'It's wonderful, but I don't know how to change it. you change first. Let's see. &amp;quot;Hearing this, Xiaohao laughed and said,&amp;quot; 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 say is to change the 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 &amp;quot;fragrant jade&amp;quot;. '&amp;quot; Hearing this, Mascara Jade Forest turned over and got up. Then Precious Jade Merchant said with a smile, &amp;quot;I slapped you in your mouth! I knew you made fun of me.&amp;quot;. She said and then twisted him. Precious Jade Merchant begged again and again, &amp;quot;Dear sister, please forgive me. Don't dare again!&amp;quot; He begged her forgiveness. While I smelled your fragrance, I was hit by this idea.&amp;quot; Mascara Jade Forest laughed and said, &amp;quot;If you scolded someone, you said it was a literary quotation.&amp;quot; Before she finished speaking, she saw Precious Hairpin Marshgrass coming, smiling and asking, &amp;quot;Who said the literary quotation? Let me hear it.&amp;quot; Mascara Jade Forest sat down hurriedly. She laughed and said, &amp;quot;Who else? He scolded me and said it was the literary quotation.&amp;quot; Precious Jade Merchant said with a smile, &amp;quot;It's Precious Jade Merchant! It is not his responsibility to 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 memory.&amp;quot; Hearing this, Mascara Jade Forest laughed and said, &amp;quot;Amida Buddha! My good sister, you met the right person. Know a return a report which is not bad.&amp;quot; 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.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:18, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
&lt;br /&gt;
◎第二十回 王熙凤正言弹妒意    林黛玉俏语谑娇音&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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！&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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：&lt;br /&gt;
“你不信，只问剐的丫头们。”&lt;br /&gt;
&lt;br /&gt;
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.” &lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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 with a grin: “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.” &lt;br /&gt;
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. Yet Nanny Plum leaning on her stick abusing Aroma: “ What a 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. Thanks 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, Nanny; 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 embarrassed, and burst into tears helplessly. &lt;br /&gt;
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.” --[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 10:36, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
&lt;br /&gt;
李嬷嬷听了这话，越发气起来了，说道：“你只护着&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
叨说个不了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
拍手笑道：“亏他这一阵风来，把个老婆子撮了去。”&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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.”&lt;br /&gt;
--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 13:52, 28 May 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 07:16, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
面禁不住流泪，又怕宝玉烦恼，只得又勉强忍着。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
毕，贾母犹欲同那几个老管家的嬷嬷斗牌。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 06:44, 9 June 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
Precious Jade Merchant 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 Merchanthad 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. &lt;br /&gt;
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 Merchant，she fought back her tears.&lt;br /&gt;
Presently the odd-job woman brought in the second dose of medicine. Precious Jade Merchant 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 Merchant 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.&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 06:52, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
&lt;br /&gt;
宝玉记着袭人，便回至房中，见袭人&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
服侍了一天，这会子还不叫他们玩玩去？所以我在这里看着。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
了帘子，出去了。&lt;br /&gt;
&lt;br /&gt;
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： &amp;quot;How is it you don't go with them?&amp;quot;&lt;br /&gt;
&amp;quot;I've no money,&amp;quot; Musk Deer Month replied.&lt;br /&gt;
&amp;quot;Under the bed,&amp;quot; continued Precious Jade, &amp;quot;is heaped up all that money, and isn't it enough yet for you to lose from?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Had we all gone to play,&amp;quot; Musk Deer Month added, &amp;quot;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.&amp;quot;&lt;br /&gt;
When Precious Jade heard these words, which demonstrated distinctly that she was another Aroma, he consequently put on a smile and remarked： &amp;quot;I'll sit in here, so you had better set your mind at ease and go！&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Since you remain in here, there's less need for me to go,&amp;quot; resumed Musk Deer Month, &amp;quot;for we two can chat and play and laugh; and won't that be nice?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What can we two do? it will be awfully dull！ but never mind,&amp;quot; Precious Jade rejoined; &amp;quot;this morning you said that your head itched, and now that you have nothing to do, I may as well comb it for you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Yes！ do so！&amp;quot; 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： &amp;quot;You haven't as yet drunk from the marriage cup,&amp;quot; she said with a smile full of irony, &amp;quot;and have you already put up your hair?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Now that you've come, let me also comb yours for you,&amp;quot; Precious Jade continued. &amp;quot;I'm not blessed with such excessive good fortune！&amp;quot; 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.&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 03:33, 5 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade, with Aroma in mind, 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 time was yet early. And as about this time Sunny Cloud Formation, Rosy Clouds, 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： &amp;quot;How is it you don't go with them?&amp;quot; &amp;quot;I've no money,&amp;quot; Musk Deer Month replied. &amp;quot;Under the bed,&amp;quot; continued Precious Jade, &amp;quot;is heaped up all that money, and isn't it enough yet for you to lose from?&amp;quot; &amp;quot;Had we all gone to play,&amp;quot; Musk Deer Month added, &amp;quot;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 here on watch.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
When Precious Jade heard these words, which demonstrated distinctly that she was another Aroma, he consequently put on a smile and remarked: &amp;quot;I'll sit in here, so you could set your mind at ease and go！&amp;quot;&amp;quot;Since you stay here, there's less need for me to go,&amp;quot; resumed Musk Deer Month, &amp;quot;for we two can chat and play and laugh; and won't that be nice?&amp;quot;&amp;quot;What can we two do? It will be awfully dull. But never mind,&amp;quot; Precious Jade rejoined; &amp;quot;this morning you said that your head itched, and now that you have nothing to do, I may as well comb it for you.&amp;quot;&amp;quot;Yes! That would be fine!&amp;quot; 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: &amp;quot;You haven't as yet drunk from the marriage cup,&amp;quot; she said with a smile full of irony, &amp;quot;and have you already put up your hair?&amp;quot;&amp;quot;Now that you've come, let me also comb yours for you,&amp;quot; Precious Jade continued. &amp;quot;I'm not blessed with such excessive good fortune!&amp;quot; Sunny Cloud Formation retorted, and as she uttered these words, she took the money and dropped the curtain, going out angrily.&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 03:19, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
侍他睡下，不肯惊动袭人。一宿无话。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
宝玉放了心，因饭后走到薛姨妈这边来闲逛。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
起骰子，然后就拿钱，说是个六点。莺儿便说：“明明是个幺。”&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Precious Hairpin always looked at him like Precious jade, having nothing else in his mind;Today hearing that he wanted to play with them, so she let him sit up and play together. Ten coins for one lei. For the first time, he won, the heart being very happy. Who knows that later, he lost a few in succession and began to worry. Coincidentally, this time he threw the dice. He would win if he threw a seven or a six, but would fail if it was three.&lt;br /&gt;
&lt;br /&gt;
He picked up the dice and gave them a hard roll, one sitting on two, the other spinning. Maid Oriole clapped his hands and said &amp;quot;the smallest one&amp;quot;, while Ring Merchant stared and mixed &amp;quot;Six&amp;quot;, &amp;quot;Seven&amp;quot; and &amp;quot;Eight&amp;quot;. Ring Merchant became angry and grabbed the money directly, saying that he got a six. Maid Oriole said, that must be the smallest one!&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 23:21, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade stood behind Musk Deer Month, who sat in front of the mirror. Their eyesight met in the mirror. Precious Jade smiled to 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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Precious Hairpin has always regarded him as Precious Jade and have no other thoughts about him; today hearing that he wanted to play with them, so she let him sit up and play together. Ten coins for one lei. For the first time, he won, the heart being very happy. Who knows that later, he lost a few in succession and began to worry. Coincidentally, this time he threw the dice. He would win if he threw a seven or a six, but would fail if it was three.&lt;br /&gt;
&lt;br /&gt;
He picked up the dice and gave them a hard roll, one sitting on two, the other spinning. Maid Oriole clapped his hands and said &amp;quot;the smallest one&amp;quot;, while Ring Merchant stared and mixed &amp;quot;Six&amp;quot;, &amp;quot;Seven&amp;quot; and &amp;quot;Eight&amp;quot;. Ring Merchant became angry and grabbed the money directly, saying that he got a six. Maid Oriole said, that must be the smallest one!&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 23:29, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
&lt;br /&gt;
宝钗见贾环急了，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
环等都不怕他，却怕贾母，才让他三分。&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;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 always 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. &lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
 &lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;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 bad one and go for the good 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. &lt;br /&gt;
&lt;br /&gt;
At the 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 on 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 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 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.”&lt;br /&gt;
 &lt;br /&gt;
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 not object.“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:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 05:05, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
&lt;br /&gt;
因问贾环：“你输了多少&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
在话下。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
Splendid Phoenix asked Ring Merchant:&amp;quot; how much have you lost?&amp;quot; Hearing this, he answered cautiously:&amp;quot; a hundred or two hundred dollars。” &amp;quot;Anyhow you are still a man, how can you be like this just because of losing  a hundred or two hundred dollars!&amp;quot; Sister Phoenix said and then turned back, shouting:&amp;quot; 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.&amp;quot; Splendid Phoenix scolded:&amp;quot; go away!&amp;quot; Getting the money, he followed Abundance obediently and played with Spring Pleasure.&lt;br /&gt;
&lt;br /&gt;
Just then Precious Jade was making fun of  Precious Hairpin, when suddenly someone said, &amp;quot;Here comes Miss History.&amp;quot; Hearing it, he stood up, ready to go.  Precious Hairpin said with a smile, &amp;quot;Wait, let's go together and see her&amp;quot;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:&amp;quot; where are you come from?&amp;quot; &amp;quot;Just  From Precious Hairpin`s house.&amp;quot;   said Precious Jade. Precious Hairpin said with a sneer: &amp;quot;You should have stayed there, or you would have flown here.&amp;quot; said Precious Jade, &amp;quot;I can only play with you to relieve your boredom.  I go to her house only once, and you say so.&amp;quot;  &amp;quot;What nonsense!&amp;quot; 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!&amp;quot;  &amp;quot;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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix asked Ring Merchant:&amp;quot; how much have you lost?&amp;quot; Hearing this, he answered cautiously:&amp;quot; one hundred or two hundred dollars.” &amp;quot;Anyhow you are still a man, how can you be like this just because of losing one hundred or two hundred dollars!&amp;quot; Sister Phoenix said and then turned back, shouting:&amp;quot; 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.&amp;quot; Sister Phoenix scolded:&amp;quot; go away!&amp;quot; Getting the money, he followed Abundance obediently and played with Spring Pleasure.&lt;br /&gt;
&lt;br /&gt;
Just then Precious Jade was making fun of Precious Hairpin, when suddenly someone said, &amp;quot;Here comes Miss History.&amp;quot; Hearing it, he stood up, ready to go. Precious Hairpin said with a smile, &amp;quot;Wait, let's go together and see her.&amp;quot; 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:&amp;quot; where are you come from?&amp;quot; &amp;quot;Just  From Precious Hairpin`s house.&amp;quot; said Precious Jade. Mascara Jade said with a sneer: &amp;quot;No surprise. You must have stayed there. Otherwise, you would have already flown here.&amp;quot; &amp;quot;I can only play with you to relieve your boredom. I go to her house only once, and you say so.&amp;quot; said Precious Jade. &amp;quot;What nonsense!&amp;quot;, 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!&amp;quot; Then she went back to her room in a fit of pique.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 05:14, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
闷，只向窗前流泪。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
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’&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
处长大的，他是才来的，岂有个为他疏你的？”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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?”&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 13:21, 1 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
&lt;br /&gt;
黛玉啐道：“我难道叫你疏他？我&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
黛玉叹道：“回来伤了风，又该饿着吵吃的了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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’&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
下回分解。&lt;br /&gt;
&lt;br /&gt;
“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.”&lt;br /&gt;
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.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Mascara Jade spat and said, “Do I want you to be less close to her? What do you take me for? It’s just that my feelings are hurt.” Precious Jade answered that, “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, you’ll be the devil to pay.” &lt;br /&gt;
&lt;br /&gt;
They were interrupted by Fragrant-cloud’s arrival. “Why, Love Brother and Sister Lin!” she cried cheerfully. Mascara Jade laughed, “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.&amp;quot; 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 Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 15:08, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
&lt;br /&gt;
◎第二十一回 贤袭人娇嗔箴宝玉  俏平儿软语救贾琏&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
云仍往黛玉房中安歇。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
两个金镯子。&lt;br /&gt;
&lt;br /&gt;
Prudent Aroma Gently Takes Precious Jade to Pretty Patience Quietly Comes to Romance Merchant's Rescue&lt;br /&gt;
&lt;br /&gt;
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” counted Precious Jade, ”She wouldn’t if you hadn’t tease 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 room. 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 room.&lt;br /&gt;
&lt;br /&gt;
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 in to 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.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
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宝玉见了叹道：“睡觉还是不老实！回来风吹了，又嚷肩窝疼&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
早晚还早呢！你起来瞧瞧。”黛玉道：“你先出去，让我们起来。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
便要手巾。翠缕道：“还是这个毛病儿，多早晚才改呢。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“妹妹”的央告。&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
Mascara Jade, awake now, had sensed someone’s presence and guessed that it was Precious Jade. Looking round to make sure she asked:&lt;br /&gt;
“What are you doing here so early?”&lt;br /&gt;
“Early? Get up and see what time it is.”&lt;br /&gt;
“You’d better go outside if you want us to get up.&lt;br /&gt;
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.&lt;br /&gt;
When Fragrant-cloud finished washing. Kingfisher picked up the basin to empty it.&lt;br /&gt;
“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.&lt;br /&gt;
“Still up to your old tricks,” teased Kingfisher, “Will you never grow up?”&lt;br /&gt;
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?”&lt;br /&gt;
“I can’t,” she said.&lt;br /&gt;
“Dear cousin, you did before,” he coaxed with a smile.&lt;br /&gt;
“Well, now I’ve forgotten how to.”&lt;br /&gt;
“I’m not going out today anyway, and I’m not going to wear a cap, he persisted. “Just plait it anyhow.”&lt;br /&gt;
He coaxed and wheedled her with endless terms of endearment.&lt;br /&gt;
&lt;br /&gt;
“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)&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
&lt;br /&gt;
湘云只得扶过他的头来一一梳篦。在家不戴冠子，并不总角，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
进的毛病儿，多早晚才改！”&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
言中，套问他年纪家乡等语，留神窥察其言语志量，深可敬爱。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.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. →He did not wear a 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. &lt;br /&gt;
&lt;br /&gt;
2.This braid was decorated with four pearls and had a golden pendant at the end.→This braid was decorated with four pearls, with a golden pendant at the end.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:50, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
理我罢，我也睡去。”说着，便起身下炕，到自己床上睡下。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
你劝我的是什么话儿？”袭人道：“你心里还不明白？还等我说呢！”&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
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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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
去，说：“不敢惊动你们。”麝月只得笑着出来，唤两个小丫头进来。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
香道：“四个。”宝玉道：“你第几个？”慧香道：“第四。”宝玉道：“明日就叫‘四&lt;br /&gt;
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。”&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
甚。&lt;br /&gt;
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, &amp;quot;Don't dare to disturb you.&amp;quot; Musk Deer Moon smiled with meekness and called two little girl to come in.&lt;br /&gt;
 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, &amp;quot;What's your name?&amp;quot; That girl replied: &amp;quot; Rolfe Fragnance (Cymbidium faberi Rolfe)&amp;quot;  Precious Jade asked again: &amp;quot;Who gave you this name? Rolfe Fragnance said: &amp;quot;My original name was'Ruta Fragnance(Ruta graveolens L), which was changed by Sister Flower. Precious Jade said: &amp;quot;Seriously? it should be called ‘bad luck’,  not ‘Roofe Fragnance’. How many sisters do you have?&amp;quot; Rolfe Fragnance said: “Four.” Precious Jade said: &amp;quot;Which one are you?&amp;quot; Rolfe Fragnance said: &amp;quot;Fourth. “ Precious Jade said, &amp;quot;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 .&amp;quot; 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. .&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;Don't dare to disturb you.&amp;quot; Musk Deer Moon smiled with meekness and called two little girls to come in.&lt;br /&gt;
 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, &amp;quot;What's your name?&amp;quot; That girl replied: &amp;quot; Rolfe Fragrance (Cymbidium faber Rolfe)&amp;quot;Precious Jade asked again: &amp;quot;Who gave you this name? Rolfe Fragrance said: &amp;quot;My original name was Ruta Fragrance (Ruta graveolens L), which was changed by Sister Flower. Precious Jade said: &amp;quot;Seriously? it should be called ‘bad luck’, not ‘Roof Fragrance’. How many sisters do you have?&amp;quot; Rolfe Fragrance said: “Four.” Precious Jade said: &amp;quot;Which one are you?&amp;quot; Rolfe Fragrance said: &amp;quot;Fourth. “Precious Jade said, &amp;quot;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 .&amp;quot; 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. .&lt;br /&gt;
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.”&lt;br /&gt;
----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
箧》一则，其文曰：&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
      &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
看至此，意趣洋洋，趁着酒兴，不禁提笔续曰：&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
    &lt;br /&gt;
其邃，所以迷眩缠陷天下者也。&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“起来好生睡，看冻着了。”&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
料他不过半日片刻，仍复好了。&lt;br /&gt;
&lt;br /&gt;
“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: &lt;br /&gt;
Do away with sages and wise men, and great robbers will disappear. &lt;br /&gt;
Destroy jade and pearls, and no petty thieves will arise.&lt;br /&gt;
Bum tallies and smash seals, and the people will revert to their natural simplicity. &lt;br /&gt;
Break measures and scales, and they will no longer quarrel. &lt;br /&gt;
Abolish all the sacred laws of the world and the people will discuss things freely. &lt;br /&gt;
Confuse the musical scales, break harps and lutes, &lt;br /&gt;
Stop the ears of good musicians, and all men under heaven will learn to hear for themselves.&lt;br /&gt;
Dispense with ornaments and colored patterns; &lt;br /&gt;
Glue up the eyes of the keen-sighted, and all men under heaven will learn to see for themselves.&lt;br /&gt;
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.”&lt;br /&gt;
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:&lt;br /&gt;
Burn the flower (Aroma), get rid of the musk (Musk Deer Month), and those in the inner apartments will keep their advice to themselves.&lt;br /&gt;
Spoil the beauty of the precious trinket (Precious Hairpin), dull the intelligence of the black jade (Mascara Jade Forest).&lt;br /&gt;
Do away with affection, and in the inner chambers fair and foul will then be on an equal footing.&lt;br /&gt;
Advice kept to oneself does away with the danger of discord;&lt;br /&gt;
Beauty marred obviates affection;&lt;br /&gt;
intelligence dulled cuts out admiration for talents.&lt;br /&gt;
For trinket, jade, flower and musk are alike spreading nets and laying traps to ensnare and bewitch all men under heaven...&lt;br /&gt;
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. &lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
“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)&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
&lt;br /&gt;
不想宝玉日夜竟不回转，自己反不得主意，直一&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
‘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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
来洗脸去罢。”说着，二人方起来梳洗。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;What's the real matter?&amp;quot; After repeating several times, Aroma opened her eyes and said, &amp;quot;Nothing. If you are awake, go over that room to wash before it's too late. &amp;quot; Precious Jade asked, &amp;quot;Where am I going?&amp;quot; Aroma snorted, &amp;quot;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. &amp;quot; 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. &amp;quot; Precious Jade laughed and said, &amp;quot;you still remember that?&amp;quot; Aroma answered, &amp;quot;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. &amp;quot; 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, &amp;quot;May the thing happen to me if I don't listen to you in the future. &amp;quot; Aroma hurried to pick the hairpin pieces up and said, &amp;quot;How could you say that in the morning. It doesn't matter whether you listen to me. It's not worty to do this.&amp;quot; Precious Jade said, &amp;quot;You don't know how bad I feel. &amp;quot; Aroma said, &amp;quot;You can feel bad too? So how do you think I feel? Hurry up and get dressed now.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;What's the real matter?&amp;quot; After his repeating several times, Aroma opened her eyes and said, &amp;quot;Nothing. If you are awake, go over that room to wash before it's too late.&amp;quot; Precious Jade asked, &amp;quot;Where am I going?&amp;quot; Aroma snorted, &amp;quot;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. &amp;quot;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.&amp;quot; Precious Jade laughed and said, &amp;quot;you still remember that?&amp;quot; Aroma answered, &amp;quot;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.&amp;quot; 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, &amp;quot;May the thing happen to me if I don't listen to you in the future. &amp;quot; Aroma hurried to pick the hairpin pieces up and said, &amp;quot;How could you say that in the morning. It doesn't matter whether you listen to me. It's not worthy to do this.&amp;quot; Precious Jade said, &amp;quot;You don't know how bad I feel. &amp;quot; Aroma said, &amp;quot;Can you feel bad too? So how do you think I feel? Hurry up and get dressed now.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
&lt;br /&gt;
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：&lt;br /&gt;
        &lt;br /&gt;
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！&lt;br /&gt;
题毕，也往上房来见贾母，后往王夫人处来。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
有肉有钱，便诸事不管了。&lt;br /&gt;
&lt;br /&gt;
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! &lt;br /&gt;
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)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210421_culture&amp;diff=123418</id>
		<title>20210421 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210421_culture&amp;diff=123418"/>
		<updated>2021-06-16T05:45:08Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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.&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
   &lt;br /&gt;
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。”&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Of the things that have to be placed about,&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Having arrived in a short while, &amp;quot;How many sorts of things are there in all?&amp;quot; Chia Cheng inquired of him. &amp;quot;Of these how many kinds have by this time been got ready? and how many more are short?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;Of the hundred and twenty curtains，&amp;quot; he proceeded， &amp;quot;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.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;This is，&amp;quot; Chia Cheng observed chuckling， &amp;quot;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.&amp;quot;--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 10:52, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
说毕，方欲进去，忽见篱门外路旁有一石，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
就认真了！”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
Treasure Merchant agreed, and replied, &amp;quot;There is no need to raise other birds here, only geese, ducks, chickens and so on.&amp;quot; Master Merchant said to the crowd, &amp;quot;It is wonderful.&amp;quot; He went on saying that: &amp;quot; ‘Apricot Flower Village’ is surely good, but it is a rather too official name for the village. Let’s just wait for it to be named.” All the guests said, &amp;quot;That's right. Now, which characters could we use to pre-name it?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
When people were thinking about it, Precious Jade could not wait for it and said without Master Merchant’s order, &amp;quot;As an old poem goes, 'Wine banners hang on the tops of red apricots'. Now how about inscribing it with 'apricot curtain in sight' four characters.&amp;quot; Everyone said, &amp;quot;Excellent to think of the phrase ‘in sight’! It also implies' apricot blossom village’s meaning.&amp;quot;Precious Jade sneered: &amp;quot;If the name of the village is used 'apricot blossom', it would be vulgar and ugly. There is a Tang Dynasty poem 'Chai Gate near the water is among the fragrance'. Why not use the 'Paddy-Sweet Cottage'?&amp;quot; Hearing this, all the people clapped their hands together and said, &amp;quot;Wonderful!&amp;quot; Master Merchant cried out: &amp;quot;Ignorant fool! How many ancients do you know, how many old poems can you remember, and how dare you show off in front of an old gentleman! All that nonsense just now is just to test your innocence and make fun of you. You're taking it too seriously!&amp;quot;&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 23:22, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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 use a bamboo pole in the treetop head.”&lt;br /&gt;
&lt;br /&gt;
Treasure Merchant agreed, and replied, &amp;quot;There is no need to raise other birds here, only geese, ducks, chickens and so on.&amp;quot; Master Merchant said to the crowd, &amp;quot;It is wonderful.&amp;quot; He went on saying that: &amp;quot; ‘Apricot Flower Village’ is surely good, but it is a rather too official name for the village. Let’s just wait for it to be named.” All the guests said, &amp;quot;That's right. Now, which characters could we use to pre-name it?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
When people were thinking about it, Precious Jade could not wait for it and said without Master Merchant’s order, &amp;quot;As an old poem goes, 'Wine banners hang on the tops of red apricots'. Now how about inscribing it with 'apricot curtain in sight' four characters.&amp;quot; Everyone said, &amp;quot;Excellent to think of the phrase ‘in sight’! It also implies' apricot blossom village’s meaning.&amp;quot;Precious Jade sneered: &amp;quot;If the name of the village is used 'apricot blossom', it would be vulgar and ugly. There is a Tang Dynasty poem 'Chai Gate near the water is among the fragrance'. Why not use the 'Paddy-Sweet Cottage'?&amp;quot; Hearing this, all the people clapped their hands together and said, &amp;quot;Wonderful!&amp;quot; Master Merchant cried out: &amp;quot;Ignorant fool! How many ancients do you know, how many old poems can you remember, and how dare you show off in front of old gentlemen! All that nonsense just now is only to test your ability and make fun of you. You're taking it too seriously!&amp;quot;&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 23:24, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
忙答道：“老爷教训的固是，但古人尝云‘天然’，此字不知何意？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
……”未及说完，贾政气的喝命：“扠出去！”才出去，又喝命：“回来！”命：“再题&lt;br /&gt;
一联，若不通，一并打嘴！”宝玉只得念道：&lt;br /&gt;
        &lt;br /&gt;
新绿涨添浣葛处，好云香护采芹人。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
泉，过了荼蘸架，入木香棚，&lt;br /&gt;
&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
“The green tide fills the creek where clothes are washed; Clouds of fragrance surround the girls plucking water-cress.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
“The green tide fills the creek where clothes are washed; Clouds of fragrance surround the girls plucking water-cress.”&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
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。”&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
&lt;br /&gt;
..., 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,&amp;quot; What a good scene!&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
“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)&lt;br /&gt;
&lt;br /&gt;
..., 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,&amp;quot; What a good scene!&amp;quot; Master Merchant asked them to suggest a name for it.“What would be better than ‘The Spring of Wuling’?” said people.“It's the 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 wartime? I would suggest ‘Smartweed Bank and Flowery Harbor.”  “That's more like nonsense,” commented Master Merchant.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
“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:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 08:51, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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》&lt;br /&gt;
《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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
的宝玉倒退，不敢再说。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
道：“我想了一对，大家批削改正。”道是：&lt;br /&gt;
        &lt;br /&gt;
麝兰芳霭斜阳院，杜若香飘明月洲。&lt;br /&gt;
...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.&amp;quot;“Climbing fig and wistaria?” someone suggested.“Master Merchant said:&amp;quot;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 glycyrrhiza. 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.”The fragrance of musk-orchids fills the court at dusk, Scent of alpinia floats to the moonlit island.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 05:18, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
 &lt;br /&gt;
...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.&amp;quot; Climbing fig and wistaria?” someone suggested.“Master Merchant said: &amp;quot;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 glycyrrhiza. 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.”The fragrance of musk-orchids fills the court at dusk, Scent of alpinia floats to the moonlit island.--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 23:40, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
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”&lt;br /&gt;
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：&lt;br /&gt;
        三径香风飘玉蕙，一庭明月照金兰。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
若‘蘅芷清芬’四字。对联则是：&lt;br /&gt;
        &lt;br /&gt;
吟成豆蔻诗犹艳，睡足荼?梦也香。”&lt;br /&gt;
&lt;br /&gt;
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！”&lt;br /&gt;
   &lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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，&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
Along three paths white angelica scents the breeze,&lt;br /&gt;
In the court a bright moon shines on golden orchids.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
“Who is putting pressure on you to use those words?”“Well then, I suggest ‘Pure Scent of Alpinia and Iris.’” And for the couplet:&lt;br /&gt;
&lt;br /&gt;
Singing on cardamons makes lovely poetry;&lt;br /&gt;
Sleeping beneath roses induces sweet dreams.&lt;br /&gt;
&lt;br /&gt;
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.” &lt;br /&gt;
“Preposterous!” Master Merchant smiled.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 06:22, 8 May 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
&lt;br /&gt;
Along three paths white angelica scents the breeze,&lt;br /&gt;
In the court a bright moon shines on golden orchids.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
“Who is putting pressure on you to use those words?”“Well then, I suggest ‘Pure Scent of Alpinia and Iris.’” And for the couplet:&lt;br /&gt;
&lt;br /&gt;
Singing on cardamons makes lovely poetry;&lt;br /&gt;
Sleeping beneath roses induces sweet dreams.&lt;br /&gt;
&lt;br /&gt;
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.” &lt;br /&gt;
“Preposterous!” Master Merchant smiled.&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
贾政道：“此处书以何文？”众人道“必是‘蓬莱仙境’方妙。”&lt;br /&gt;
贾政摇头不语。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
源之正流，即名‘沁芳闸’。”贾政道：“胡说，偏不用‘沁芳’二字。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
尝歇息，腿酸脚软，忽又见前面露出一所院落来，&lt;br /&gt;
&lt;br /&gt;
“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)&lt;br /&gt;
&lt;br /&gt;
“What should be inscribed here?” asked Master Merchant. “‘The Fairy Land of Penglai’?”, others said. He shook his head and said nothing. &lt;br /&gt;
&lt;br /&gt;
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 ran off and he was exhausted after his long ordeal. Fearing that if he were pressed too hard the consequences might be serious, they persuaded 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. Well, I’ll give you a more day. 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.” &lt;br /&gt;
&lt;br /&gt;
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.” &lt;br /&gt;
&lt;br /&gt;
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 Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 15:00, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
贾政道：“到此可要歇息歇息&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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。”&lt;br /&gt;
众人都说：“领教，妙解！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
全其美。”贾政摇头道：“不好，不好！”&lt;br /&gt;
&lt;br /&gt;
说着，引人进入房内。&lt;br /&gt;
&lt;br /&gt;
Master Merchant said, &amp;quot;Here we must take a rest.&amp;quot; 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. &amp;quot;We have never seen such a splendid one before.&amp;quot; “This is a foreign variety called 'Maiden Apple,&amp;quot; Master Merchant told them. &amp;quot;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.&amp;quot; &amp;quot;lf so, how did the name come to be handed down?&amp;quot; they wondered. “Quite likely the name 'Maiden' was given by some poet,&amp;quot; said Precious Jade,&lt;br /&gt;
&amp;quot;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.&amp;quot; &amp;quot;A most plausible explanation,&amp;quot; said the others.&lt;br /&gt;
&lt;br /&gt;
They sat down on some benches in the corridor and Master Merchant at once asked for another inscription. &amp;quot;Plantains and Storks'?&amp;quot; one proposed.&amp;quot; Or 'Towering Splendour and Shimmering Radiance.” another one said. MasterMerchant and the rest approved, as indeed did Precious Jade adding, &amp;quot;It's a pity, though...&amp;quot; Asked to explain himself, he said, &amp;quot;Plantain and crabapple blossom suggest both red and green. It's a pity to refer to one and not the other.&amp;quot; &amp;quot;What do you suggest then?&amp;quot; Master Merchant said &amp;quot; Something like 'Red Fragrance and Green Jade' would bring out the charm of both, I think. &amp;quot;&amp;quot;Not fit!&amp;quot; Master Merchant shook his head. He led the way into the building.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
“This is a foreign variety called ‘Maiden Apple,” Master Merchant told them. &lt;br /&gt;
“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.”&lt;br /&gt;
“If so, how did the name come to be handed down?” they wondered.&lt;br /&gt;
“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.” &lt;br /&gt;
“A most plausible explanation,” said the others.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:07, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
只见其中收拾的与别处不同，竟分不出间隔来的。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
致！难为怎么做的！”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
南上，共总流到这里，仍旧合在一处，从那墙下出去。”&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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 .&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
众人听了，都道：“神妙之&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
趣！搜神夺巧，至于此极！”于是大家出来。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
道不曾难为他，心中自是喜欢。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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！”&lt;br /&gt;
&lt;br /&gt;
“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.&lt;br /&gt;
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.&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.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.→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.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:45, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
说&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
上来“妹妹”长“妹妹”短赔不是。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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。&lt;br /&gt;
只别叫他们拌嘴。”众人答应着。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
笑了。&lt;br /&gt;
&lt;br /&gt;
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 into pieces.&lt;br /&gt;
&lt;br /&gt;
Precious Jade noticing that she had lost her temper， came after her with hurried steps， but the bag had already been cut with the scissors； and as Precious Jade had 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 reason. Promptly therefore unbuttoning his coat， he produced from inside the lapel the purse， which had been fastened there. &amp;quot;Look at this！&amp;quot; he remarked as he handed it to Mascara Jade； &amp;quot;what kind of thing is this！ have I given away to any one what was yours？&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;there was really no need for you to have cut it，&amp;quot; Precious Jade observed； &amp;quot;but as I know that you're loth to give me anything， what do you say to my returning even this purse？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;My dear cousin，&amp;quot; he smilingly pleaded， &amp;quot;do spare it！&amp;quot; and as Mascara Jade dashed down the scissors and wiped her tears： &amp;quot;You needn't，&amp;quot; she urged， &amp;quot;be kind to me at one moment， and unkind at another； if you wish to have a tiff， why then let's part company！&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Precious Jade could not refrain from approaching her. &amp;quot;My dear cousin， my own cousin，&amp;quot; he added， &amp;quot;I confess my fault！&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Go and find Precious Jade！&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;All right， that will do！ that will do！&amp;quot; her ladyship rejoined， when she heard this reply； &amp;quot;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.&amp;quot; To which the servants in a body expressed their obedience.&lt;br /&gt;
&lt;br /&gt;
Mascara Jade， unable to put up with Precious Jade's importunity， felt compelled to rise. &amp;quot;Your object seems to be，&amp;quot; she remarked， &amp;quot;not to let me have any rest. If it is， I'll run away from you.&amp;quot; Saying which， she there and then was making her way out， when Precious Jade protested with a face full of smiles： &amp;quot;Wherever you go， I'll follow！&amp;quot; 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， &amp;quot;You say you don't want it，&amp;quot; she observed， &amp;quot;and now you put it on again！ I'm really much ashamed on your account！&amp;quot; And these words were still on her lips when with a sound of Ch'ih， she burst out laughing.&lt;br /&gt;
&lt;br /&gt;
After speaking 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.&lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;Look at this！&amp;quot; he remarked as he handed it to Mascara Jade； &amp;quot;what kind of thing is this！ have I given away to any one what was yours？&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;there was really no need for you to have cut it，&amp;quot; Precious Jade observed； &amp;quot;but as I know that you're loth to give me anything， what do you say to my returning even this purse？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
With these words， he threw the purse on 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.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;My dear cousin，&amp;quot; he smilingly pleaded， &amp;quot;do spare it！&amp;quot; and as Mascara Jade dashed down the scissors and wiped her tears： &amp;quot;You needn't，&amp;quot; she urged， &amp;quot;be kind to me at one moment， and unkind at another； if you wish to have a tiff， why then let's part company！&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Precious Jade could not refrain from approaching her. &amp;quot;My dear cousin， my own cousin，&amp;quot; he added， &amp;quot;I confess my fault！&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Go and find Precious Jade！&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;All right， that will do！ that will do！&amp;quot; her ladyship rejoined， when she heard this reply； &amp;quot;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.&amp;quot; To which the servants in a body expressed their obedience.&lt;br /&gt;
&lt;br /&gt;
Mascara Jade， unable to put up with Precious Jade's importunity， felt compelled to rise. &amp;quot;Your object seems to be，&amp;quot; she remarked， &amp;quot;not to let me have any rest. If it is， I'll run away from you.&amp;quot; Saying which， she there and then was making her way out， when Precious Jade protested with a face full of smiles： &amp;quot;Wherever you go， I'll follow！&amp;quot; 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， &amp;quot;You say you don't want it，&amp;quot; she observed， &amp;quot;and now you put it on again！ I'm really much ashamed on your account！&amp;quot; And these words were still on her lips when with a sound of Ch'ih， she burst out laughing.--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 15:58, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
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&lt;br /&gt;
兴罢了。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
诸凡大小所需之物料账目。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
‘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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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。’”&lt;br /&gt;
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. &lt;br /&gt;
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.’”&lt;br /&gt;
&lt;br /&gt;
“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]])&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
王夫人&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
听下回分解。&lt;br /&gt;
    &lt;br /&gt;
◎第十八回 皇恩重元妃省父母  天伦乐宝玉呈才藻&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“咱们别在这里碍手碍脚。”说着，同宝玉等往迎春房中来。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
亲。”贾府奉了此旨，一发日夜不闲，连年亦不曾好生过的。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
注。&lt;br /&gt;
“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. &lt;br /&gt;
Chapter 18&lt;br /&gt;
Unit Spring Visits Her Parents on the Feast of Lanterns&lt;br /&gt;
Mascara Jade Helps Precious Jade by Passing Him a Poem&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
“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. &lt;br /&gt;
&lt;br /&gt;
Chapter 18 Unit Spring Visits Her Parents on the Feast of Lanterns Mascara Jade Helps Precious Jade by Passing Him a Poem&lt;br /&gt;
 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)&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
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&lt;br /&gt;
花灯烟火之类，至十四日，俱已停妥。这一夜，上下通不曾睡。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
们去吃酒饭，一面传人挑进蜡烛，各处点起灯来。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
香；然后一把曲柄七凤金黄伞过来，便是冠袍带履。&lt;br /&gt;
&lt;br /&gt;
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,&amp;quot; Such being the case, Lady Dowager and Lady Wang should go inside to rest and come back later.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
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,&amp;quot; Such being the case, Lady Dowager and Lady Wang should go inside to rest and come back later.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
又有执事太监捧着香巾、绣&lt;br /&gt;
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&lt;br /&gt;
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、&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
富贵风流。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
汀花溆”四字。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
竟以小儿语搪塞了事呢？&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
But Princess Merchant looked at the scene outside the carriage. She nodded and sighed, &amp;quot;It is too luxurious and expensive!&amp;quot; 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 &amp;quot;Smartweed Amifostine Flower Waterside&amp;quot; were visible. &lt;br /&gt;
&lt;br /&gt;
The magistrate was told that the word &amp;quot;Smartweed Amifostine Flower Waterside&amp;quot; and the word &amp;quot;A Phoenix Comes with Grace to Rest&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
只固当日这贾妃未入宫时，自幼亦系贾母教养。后来&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
须，毯铺鱼獭，鼎飘麝脑之香，屏列雉尾之扇。真是：&lt;br /&gt;
        &lt;br /&gt;
金门玉户神仙府，桂殿兰宫妃子家。&lt;br /&gt;
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&lt;br /&gt;
妃点头不语。礼仪太监请升座受礼，两阶乐起。&lt;br /&gt;
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: &amp;quot;Just Flowery Harbor&amp;quot; would do. Why Smart-weed Bank&amp;quot; too?&amp;quot; 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.&amp;quot; At once she ordered this to be changed to House of Reunion&amp;quot; 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, &amp;quot;Why has this place no name?&amp;quot; The eunuch attendant fell on his knees. &amp;quot;Because this is the main palace,&amp;quot; he replied,&amp;quot; no subject outside the Court dared suggest a name.” The eunuch attendant fell on his knees. Because this is the main palace,&amp;quot; he replied, &amp;quot;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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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: &amp;quot;Just Flowery Harbor&amp;quot; would do. Why Smart-weed Bank&amp;quot; too?&amp;quot; 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.&amp;quot; At once she ordered this to be changed to House of Reunion&amp;quot; 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, &amp;quot;Why has this place no name?&amp;quot; The eunuch attendant fell on his knees. &amp;quot;Because this is the main palace,&amp;quot; he replied,&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
二太监引贾赦贾政等于月台下&lt;br /&gt;
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&lt;br /&gt;
上排班，昭容再谕口：“免。”于是亦退。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
两处自有人款待，只留三四十小太监答应。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
母女姊妹，叙些久别情景，及家务私&lt;br /&gt;
情。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
内，又抚其头颈笑道：“比先长了好些……”一语未终，泪如雨下。&lt;br /&gt;
    &lt;br /&gt;
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，&lt;br /&gt;
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”、&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
There were lots of domestic affairs during the time of separation that her mom and sisters wanted to share with her.&lt;br /&gt;
&lt;br /&gt;
Master Merchant also paid his respect standing outside the curtain, Concubine Merchant asked for the other things inside. Then she talked to her father: &amp;quot;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.&amp;quot; Filled with tears, Master Merchant replied: &amp;quot;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.&amp;quot; Concubine Merchant then enjoined that &amp;quot;When working, industrious to it; when resting, enjoy it. Don't miss me.&amp;quot; Master Merchant responded: &amp;quot;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.&amp;quot; Hearing about Precious Jade's inscription, Concubine Yuan smiled: &amp;quot;It seems that he did make progress.&amp;quot; Master Merchant exited. Then, Concubine Yuan asked: &amp;quot;Why does Precious Jade not here?&amp;quot; Grandma Merchant answered: &amp;quot;As a male without any official ranking, he dares not to come in.&amp;quot; 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: &amp;quot;Growing much taller than before...&amp;quot; Having not finished the words, the tears came out of the eyes like the pouring rain.&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix and Madam Outstanding walked forward and reported: &amp;quot;The feast has already prepared, and we are pleased to invite you to come to enjoy it.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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,&amp;quot;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.&amp;quot; With tears too Master Merchant replied, &amp;quot;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.&amp;quot; Concubine Merchant then enjoined that &amp;quot;When working, industrious to it; when resting, enjoy it. Don't miss me.&amp;quot; Master Merchant responded, &amp;quot;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.&amp;quot; Hearing about Precious Jade's inscription, Concubine Yuan smiled, &amp;quot;It seems that he does make progress.&amp;quot;  Master Merchant withdrew. Then, Concubine Yuan asked, &amp;quot;Why does Precious Jade not here?&amp;quot; Grandma Merchant answered, &amp;quot;As a male without any official rank, he dares not to come in.&amp;quot; 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: &amp;quot;Growing much taller than before...&amp;quot; Having not finished the words, the tears came out of the eyes like the pouring rain.&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix and Madam Outstanding walked forward and announced, &amp;quot;The feast is ready, and we are pleased to invite you to come to enjoy it.&amp;quot; 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)&lt;br /&gt;
&lt;br /&gt;
=Dèng Dān 邓丹=&lt;br /&gt;
“红香&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
等捧羹把盏。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
园”，正殿匾额云：“顾思思义”，对联云：&lt;br /&gt;
        天地启宏慈，赤子苍生同感戴；古今垂旷典，九州万国被恩荣。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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”、&lt;br /&gt;
“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&lt;br /&gt;
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：&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
    观”名。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
日之事。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
For the main reception palace she wrote the inscription: &lt;br /&gt;
 Recalling Imperial Favour, Mindful of Duty. And the couplet:Compassion vast as the universe extends to old and young, &lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
道是：&lt;br /&gt;
                &lt;br /&gt;
旷性怡情(匾额)迎春&lt;br /&gt;
        &lt;br /&gt;
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？&lt;br /&gt;
                &lt;br /&gt;
万象争辉(匾额)探春&lt;br /&gt;
        &lt;br /&gt;
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。&lt;br /&gt;
                &lt;br /&gt;
文章造化(匾额)惜春&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
                &lt;br /&gt;
文采风流(匾额)李纨&lt;br /&gt;
        &lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
 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.&lt;br /&gt;
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.&lt;br /&gt;
The Imperial Consort looked first at the girls’ attempts. Here is what they had written:&lt;br /&gt;
REFRESHING THE HEART (Yingchun)&lt;br /&gt;
Landscapes strange and rare here we find,&lt;br /&gt;
Bashfully, at the word of command, I take up my pen;&lt;br /&gt;
Who dreamed of such loveliness in the world of men?&lt;br /&gt;
A stroll through these grounds refreshes heart and mind.&lt;br /&gt;
ALL THINGS VIE IN SPLENDOUR (Tanchun)&lt;br /&gt;
This garden laid out with consummate art,&lt;br /&gt;
I blush, with my poor skill, its fame to render. &lt;br /&gt;
Past telling are the marvels in this place, &lt;br /&gt;
For here, indeed, all things compete in splendour.&lt;br /&gt;
REFINEMENT IN CREATION (Xichun)&lt;br /&gt;
This landscape stretches to infinity,&lt;br /&gt;
Its high pavilions soaring to the sky;&lt;br /&gt;
Laid out in radiance of the moon and sun,&lt;br /&gt;
Nature itself is by these scenes outdone.&lt;br /&gt;
Bright hills and crystal water intertwine,&lt;br /&gt;
No fairy isle is half as fair or fine.&lt;br /&gt;
Green fans of singers mid sweet herbs are lost, &lt;br /&gt;
Plum-petals by red skirts of dancers tossed.&lt;br /&gt;
Rare verses should record this golden hour,&lt;br /&gt;
Our joy at the nymph’s descent from jasper tower. &lt;br /&gt;
Once she has visited these lovely grounds,&lt;br /&gt;
No mortal foot may overstep their bounds.&lt;br /&gt;
&lt;br /&gt;
The Imperial Consort looked first at the girls’ attempts. Here is what they had written:&lt;br /&gt;
REFRESHING THE HEART (Yingchun)&lt;br /&gt;
Landscapes strange and rare here we find,&lt;br /&gt;
Bashfully, at the word of command, I take up my pen;&lt;br /&gt;
Who dreamed of such loveliness in the world of men?&lt;br /&gt;
A stroll through these grounds refreshes heart and mind.&lt;br /&gt;
ALL THINGS VIE IN SPLENDOUR (Tanchun)&lt;br /&gt;
This garden laid out with consummate art,&lt;br /&gt;
I blush, with my poor skill, its fame to render. &lt;br /&gt;
Past telling are the marvels in this place, &lt;br /&gt;
For here, indeed, all things compete in splendour.&lt;br /&gt;
REFINEMENT IN CREATION (Xichun)&lt;br /&gt;
This landscape stretches to infinity,&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
凝晖钟瑞(匾额)薛宝钗&lt;br /&gt;
        &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
辞？&lt;br /&gt;
                &lt;br /&gt;
世外仙源(匾额)林黛玉&lt;br /&gt;
        &lt;br /&gt;
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，&lt;br /&gt;
花媚玉堂人。何幸邀恩宠，宫车过往频。&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
多做，只胡乱做一首五言律应命罢了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“你只把‘绿玉’的‘玉’字改作‘蜡’字就是了。”宝玉道：“‘绿蜡’可有出处？”&lt;br /&gt;
&lt;br /&gt;
Glory and auspiciousness are all gathered here (the title of the poem), written by Xue Baochai&lt;br /&gt;
&lt;br /&gt;
         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.&lt;br /&gt;
&lt;br /&gt;
The towering willows happily welcome the yellow warbler from the valley, and the high bamboo bushes are waiting for the Phoenix to come here.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Looking up to the poems of the virtuous imperial concubine's genius, how could those learned Taifu dare to write again?&lt;br /&gt;
&lt;br /&gt;
                 Fairyland outside the world (the title of the poem), written by Lin Daiyu&lt;br /&gt;
&lt;br /&gt;
         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.&lt;br /&gt;
&lt;br /&gt;
After reading their poems, Yuan Fei praised them and said with a smile, &amp;quot;in the end, Xue Baochai and Lin Daiyu's poems are different. The other sisters are far inferior to them.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
     At this time, Jia Baoyu had not finished his poem, so he wrote two poems: &amp;quot;Xiaoxiangguan&amp;quot; and &amp;quot;juanwuyuan&amp;quot;. He was writing the poem &amp;quot;yihongyuan&amp;quot;. In the first draft, there was a sentence &amp;quot;lvyuchunyoujuan&amp;quot;. When Xue Baochai caught a glimpse of it, she pushed Jia Baoyu and said, &amp;quot;because you don't like the word&amp;quot; red fragrant green jade &amp;quot;, you changed the word&amp;quot; happy red and green &amp;quot;; Now you use the word &amp;quot;green jade&amp;quot; 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. &amp;quot; Seeing that Xue Baochai said so, Jia Baoyu wiped away her sweat and said, &amp;quot;I can't think of any allusions at this time.&amp;quot; Xue Baochai said with a smile, &amp;quot;you can only change the word&amp;quot; jade &amp;quot;from&amp;quot; green jade &amp;quot;to&amp;quot; wax. &amp;quot; Jia Baoyu said: &amp;quot;does green wax have a source?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
宝&lt;br /&gt;
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&lt;br /&gt;
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？”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
一面说笑，因怕他耽延工夫，遂抽身走开了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
三首高得十倍，遂忙恭楷誊完呈上。贾妃看是：&lt;br /&gt;
                &lt;br /&gt;
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。&lt;br /&gt;
                &lt;br /&gt;
蘅芷清芬&lt;br /&gt;
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，&lt;br /&gt;
冷翠湿衣裳。谁谓“池塘”曲，谢家幽梦长。&lt;br /&gt;
                &lt;br /&gt;
怡红快绿&lt;br /&gt;
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，&lt;br /&gt;
倚石护清烟。对立东风里，主人应解怜。&lt;br /&gt;
                &lt;br /&gt;
杏帘在望&lt;br /&gt;
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，&lt;br /&gt;
十里稻花香。盛世无饥馁，何须耕织忙。&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
This is what she read:&lt;br /&gt;
&lt;br /&gt;
WHERE THE PHOENIX ALIGHTS&lt;br /&gt;
The fruit fresh formed on jade stalks rare, Makes for the phoenix fitting fare;&lt;br /&gt;
So green each stem they seem to drip, With coolness seeping from each verdant tip.&lt;br /&gt;
Bursting through stones, they change the water’s track, Piercing through screens, hold tripod’s incense back; &lt;br /&gt;
Let none disturb these chequered shades, That sweetly she may dream till daylight fades.&lt;br /&gt;
&lt;br /&gt;
PURE SCENT OF ALPINIA AND IRIS &lt;br /&gt;
Alpinia fills the courtyard free from dust, By climbing fig its fragrance reinforced;&lt;br /&gt;
Softly they heighten the fresh green of spring, Gently they trail their perfume, ring on ring.&lt;br /&gt;
A light mist hides the winding path from view, From covered walks drips chill and verdant dew.&lt;br /&gt;
But who will celebrate the pool in song? Lost in a dream, at peace, the poet sleeps long.&lt;br /&gt;
&lt;br /&gt;
HAPPY RED AND DELIGHTFUL GREEN&lt;br /&gt;
In quiet court long days pass tranquilly, A charming match, plantain and apple-tree;&lt;br /&gt;
The green wax leaves in spring are yet furled tight, The blossom decked in red keeps watch at night;&lt;br /&gt;
With crimson sleeves one sweeps the balustrade, One, misty green, is by the rocks arrayed.&lt;br /&gt;
Facing each other in the soft east wind, They surely bring their mistress peace of mind!&lt;br /&gt;
&lt;br /&gt;
APPROACH TO APRICOT TAVERN &lt;br /&gt;
A grove of apricots, a tavern-sign, And a hillside hamlet beyond;&lt;br /&gt;
Elms, mulberries, swallows on rafters, And geese on the caltrop pond.&lt;br /&gt;
In the fields spring leeks are green, All round, the paddy flowers scent the breeze;&lt;br /&gt;
None goes hungry in these good times, Ploughman and weaver alike can take their ease.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 05:27, 9 June 2021 (UTC)&lt;br /&gt;
the Tang poet Qian Xu→the Tang poet Korea Assistance &lt;br /&gt;
&lt;br /&gt;
“How stupid of me!”→“How stupid I am!”&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
Asked if he had finished→Asking if he had finished&lt;br /&gt;
&lt;br /&gt;
After thinking for a moment with lowered head→After thinking for a moment with her lowered head&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
已。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
妆演的形容，却做尽悲欢情状。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
外赏了两匹宫绸，两个荷包，并金银锞子食物之类。&lt;br /&gt;
&lt;br /&gt;
After seeing these, Princess Merchant was overjoyed and said, &amp;quot;Surely, you have made a progress!&amp;quot; Then, she appointed the &amp;quot;Apricot Curtain&amp;quot; as the crown of four poems, and transferred &amp;quot;Hemp- Washing Cottage&amp;quot; to &amp;quot;Rice Fragrance Village&amp;quot;. 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 &amp;quot;Praises for Returning Home&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
Rose Merchant, followed by a group of female actors, was waiting impatiently downstairs. At that moment, a eunuch flew down the stairs and said: &amp;quot;The project of making poems has finished. Quickly please give me the contents of plays!&amp;quot; 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 &amp;quot;A Grand Banquet&amp;quot;, the second, &amp;quot;Qi Qiao&amp;quot;, the third, &amp;quot;Fairy&amp;quot;, the fourth, &amp;quot;Missing Souls&amp;quot;. 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.&lt;br /&gt;
&lt;br /&gt;
As soon as the performance was over, an eunuch came in with a golden plate with cakes and asked, &amp;quot;Who is the 龄官official?&amp;quot; Rose Merchant knew it was&lt;br /&gt;
to be given to Charmante. She quickly received it and ordered Charmante to kowtow.The eunuch said, &amp;quot;Your concubine has an order, saying, 'Charmante performed very well. Make another two plays. You are not limited to make those very two.'&amp;quot; Rose Merchant agreed quickly, ordering the Charmante to make &amp;quot;Garden Travel&amp;quot; and  &amp;quot;Surprising Dreams&amp;quot; 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 &amp;quot;Meeting&amp;quot; and &amp;quot;Scolding&amp;quot;. Rose Merchant failed to persuade her but to allow her do what she wanted to do. Princess Merchant was very happy, ordering: &amp;quot;Don't let this girl feel awkward. Teach her attentively.&amp;quot; There were additional rewards: two palace silk, two bags, some small pieces of gold and silver, some food and so on.&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
然后撤筵，将未到之处，复&lt;br /&gt;
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&lt;br /&gt;
外加恩与一班幽尼女道。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
挂，好生保养。&lt;br /&gt;
&lt;br /&gt;
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, &amp;quot;a humane boat on the world's bitter sea&amp;quot;, and went once again so far as to show additional grace to a company of ascetic nuns and Taoist priestesses.&lt;br /&gt;
&lt;br /&gt;
A eunuch came in a short while and reverently fell on his knees. &amp;quot;The presents are all in readiness,&amp;quot; he reported, &amp;quot; and may please you to check them and to distribute them, in compliance with custom,&amp;quot; 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 &amp;quot; may your wishes be fulfilled&amp;quot; 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 &amp;quot;Affluence and honors and Perennial Spring&amp;quot;; four rolls of imperial silk with the words &amp;quot;Perennial Happiness and Longevity&amp;quot;; ten purple gold ingots, representing &amp;quot;a pen as you like&amp;quot;, and ten silver ingots with the device &amp;quot;Felicitous Blessings.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
The whole party had finished by giving expression to their thanks for her bounty, when the managers and eunuchs respectfully announced: &amp;quot; It is already a quarter to three, and may please your Majesty to turn back to your chariot.&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
◎第十九回 情切切良宵花解语  意绵绵静日玉生香&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
    &lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
Chapter 19&lt;br /&gt;
An Eloquent Maid Offers Earnest Advice One Fine Night &lt;br /&gt;
A Sweet Girl Shows Deep Feeling One Quiet Day&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
内&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
里瞧热闹去了。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
得！”一脚踹进门去，将那两个唬开了，抖衣而颤。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
红耳赤，低首无言。&lt;br /&gt;
&lt;br /&gt;
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 Merchants could afford to put on such a lively entertainment. Only Precious Jade, disgusted by such rowdy, showy proceedings, soon slipped away to amuse himself elsewhere. First he went to the inner rooms to chat with Madam Outstanding 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.&lt;br /&gt;
&lt;br /&gt;
When Precious Jade found himself alone he thought, &amp;quot;There&amp;quot;s а marvelously lifelike painting of а beauty in the small study here. In all this excitement today she must be lonely. l&amp;quot;d better go and cheer her up.&amp;quot; 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 by the Goddess of Disenchantment.Heavens above!&amp;quot;As Precious Jade 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. &amp;quot;A fine way to carry on in broad daylight!&amp;quot;cried Precious Jade. Do you want Lord Treasure Merchant to kill you?&amp;quot; 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.&lt;br /&gt;
&lt;br /&gt;
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 Merchants 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.&lt;br /&gt;
When Precious Jade Merchant found himself alone he thought, &amp;quot;There&amp;quot;s a lifelike painting of а beauty in the small study here. In all this excitement today she must be lonely. l&amp;quot;d better go and cheer her up.&amp;quot; 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!&amp;quot;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. &amp;quot;A fine way to carry on in broad daylight!&amp;quot;cried Precious Jade Merchant. Do you want Lord  Treasure Merchant to kill you?&amp;quot; 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&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
宝玉跺脚道：“还不快跑？”一语提醒了那丫头，飞也似的去&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
他将来有些造化。”说着，沉思一会。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
门前。&lt;br /&gt;
Precious Jade Merchant stamped foot and said: &amp;quot;still not fast run?&amp;quot; This word reminded that girl, so she run away quickly.&lt;br /&gt;
&amp;quot;Don't be afraid. I don't tell anyone.&amp;quot; Tealeaf was so anxious that she cried: &amp;quot;This is clearly to tell others!&amp;quot; &amp;quot;Is that girl in her teens?&amp;quot;, asked by Precious Jade Merchant. Tealeaf said: &amp;quot;Sixteen or seventeen years old.&amp;quot; &amp;quot;She did not even asked how old he is,&amp;quot; said Precious Jade Merchant, &amp;quot;and of course she didn't know anything else. What a poor girl!&amp;quot; &amp;quot;What was his name?&amp;quot; he continued to ask. Tealeaf said with a smile:&amp;quot;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&lt;br /&gt;
his name is called Wan er.&amp;quot; Precious Jade laughed and said, &amp;quot;That is a novelty. There may be have luck for him&amp;quot;. After this words, he kept thinking for a while.&lt;br /&gt;
&lt;br /&gt;
As a result, Tealeaf asked: &amp;quot;Why not see such good play?&amp;quot; &amp;quot;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?&amp;quot;&amp;quot; said Precious Jade Merchant. Tealeaf slightly smiled: &amp;quot;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.&amp;quot; Precious Jade Merchant said, &amp;quot;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.&amp;quot; Tealeaf relied, &amp;quot;Whose house can we go? It's hard.&amp;quot; Precious Jade Merchant said with a smile, &amp;quot;According to my idea, let's go to Sister Hua's and to see what her family are doing.&amp;quot; Tealeaf said with a smile again: &amp;quot;Good, good! I forgot her family. If they know it is I that incite you, other people want to beat me?&amp;quot; &amp;quot;I am with you,&amp;quot; said Precious Jade Merchant.After hearing this promise, she pulled up their horses and left from the back door.&amp;quot; Fortunately, it was not far from the Aroma's house, half a mile away. They arrived in the blink of an eye.                  ——Li Yihao&lt;br /&gt;
&lt;br /&gt;
Precious Jade Merchant stamped a foot and said: &amp;quot;still not fast run?&amp;quot; This word reminded that girl, so she run away quickly.&lt;br /&gt;
&amp;quot;Don't be afraid. I don't tell anyone.&amp;quot; Tealeaf was so anxious that she cried: &amp;quot;This is clearly to tell others!&amp;quot; &amp;quot;Is that girl in her teens?&amp;quot;, asked Precious Jade Merchant. Tealeaf said: &amp;quot;Sixteen or seventeen years old.&amp;quot; &amp;quot;She did not even ask how old he is,&amp;quot; said Precious Jade Merchant, &amp;quot;and of course she didn't know anything else. What a poor girl!&amp;quot; &amp;quot;What was his name?&amp;quot; he continued to ask. Tealeaf said with a smile: &amp;quot;It is a long story behind his name, and his name was really 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&lt;br /&gt;
his name is called Wan er.&amp;quot; Precious Jade laughed and said, &amp;quot;That is a novelty. There may have luck for him&amp;quot;. After these words, he kept thinking for a while.&lt;br /&gt;
&lt;br /&gt;
As a result, Tealeaf asked: &amp;quot;Why not see such good play?&amp;quot; &amp;quot;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?&amp;quot; said Precious Jade Merchant. Tealeaf slightly smiled: &amp;quot;No one notices us, I quietly lead you to go out towards the city, and then come back, so they do not know this trip.&amp;quot; Precious Jade Merchant said, &amp;quot;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.&amp;quot; Tealeaf relied on, &amp;quot;Whose house can we go to? It's hard.&amp;quot; Precious Jade Merchant said with a smile, &amp;quot;According to my idea, let's go to Sister Hua's and see what her family are doing.&amp;quot; Tealeaf said with a smile again: &amp;quot;Good, good! I forgot her family. If they know it is I that incite you, other people want to beat me?&amp;quot; &amp;quot;I am with you,&amp;quot; said Precious Jade Merchant. After hearing this promise, she pulled up their horses and left from the back door.&amp;quot; Fortunately, it was not far from the Aroma's house, half a mile away. They arrived in the blink of an eye. --[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:16, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
不干净，爷怎么坐呢？”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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，&lt;br /&gt;
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&lt;br /&gt;
用摆了，不敢乱给东西吃。”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tealeaf went first to call for Aroma&amp;quot;s brother The Fragrant Flower. Aroma&amp;quot;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&amp;quot;s young master waiting at the gate with a servant. He went back to the courtyard and yelled: &amp;quot;It&amp;quot;s Precious Jade!&amp;quot; Aroma came running out to discover the cause of this unaccountable visit. As soon as she saw him she clung to him anxiously: &amp;quot;What&amp;quot;s wrong with you?” Precious Jade laughed and said: “I was just feeling bored, so I came over to see what did you do.” &amp;quot;That doesn’t make sense.&amp;quot; said Aroma, relieved to find that nothing was amiss. &amp;quot;What did you think I would do?&amp;quot; She turned to Tealeaf and asked: &amp;quot;Who else is with you?&amp;quot; &amp;quot;Nobody,&amp;quot; said Tealeaf , smilely. &amp;quot;Nobody knows we’re here.&amp;quot; This time Aroma freaked out again. &amp;quot;That&amp;quot;s terrible! Suppose you will meet someone? Suppose you were to meet the Master?&amp;quot; She glanced at Precious Jade. &amp;quot;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.&amp;quot; She turned to Tealeaf again. &amp;quot;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!&amp;quot; Tealeaf pulled a puppy dog face. &amp;quot;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.&amp;quot; &amp;quot;You might as well stay, now you’re here,&amp;quot; said The Fragrant Flower. &amp;quot;There&amp;quot;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.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
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. &amp;quot;It’s no use to prepare for him, mom,&amp;quot; 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.&amp;quot;--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 09:34, 13 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Tealeaf went first to call for Aroma&amp;quot;s brother The Fragrant Flower. Aroma&amp;quot;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&amp;quot;s young master waiting at the gate with a servant. Having lifted Precious Jade off his horse, he went back to the courtyard and yelled: &amp;quot;Precious Jade comes!&amp;quot; Aroma came running out to discover the cause of this unaccountable visit. As soon as she saw him she clung to him, anxiously: &amp;quot;What&amp;quot;s wrong with you?” Precious Jade laughed and said: “I was just feeling bored, so I came over to see what did you do.” &amp;quot;That doesn’t make sense.&amp;quot; said Aroma, relieved to find that nothing was amiss. &amp;quot;What did you think I would do?&amp;quot; She turned to Tealeaf and asked: &amp;quot;Who else is with you?&amp;quot; &amp;quot;Nobody,&amp;quot; said Tealeaf with a grin. &amp;quot;Nobody knows we’re here.&amp;quot; This time Aroma freaked out again. &amp;quot;That&amp;quot;s terrible! Suppose you will meet someone? Suppose you were to meet the Master?&amp;quot; She glanced at Precious Jade. &amp;quot;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.&amp;quot; She turned to Tealeaf again. &amp;quot;You put him up to here, right? Wait till I get back, I’ll tell his nannies about you. And they’ll have you flogged like a felon!&amp;quot; Tealeaf pulled a puppy dog face. &amp;quot;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.&amp;quot; &amp;quot;You might as well stay, now you’re here,&amp;quot; said The Fragrant Flower. &amp;quot;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.&amp;quot; &lt;br /&gt;
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. &amp;quot;It’s no use to prepare for him, mom,&amp;quot; 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.&amp;quot;  --[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 10:35, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=	&lt;br /&gt;
一面说，一面将自己的坐褥拿了，铺在一个杌子上，&lt;br /&gt;
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&lt;br /&gt;
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。&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
几个松子瓤，吹去细皮，用手帕托着送与宝玉。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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：&lt;br /&gt;
“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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
个东西。”说毕，递与他们传看了一遍，仍与宝玉挂好，&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
又命他哥哥去雇一乘小&lt;br /&gt;
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&lt;br /&gt;
道：“不为不妨，为的是碰见人。”&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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。”&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
笑道：“倒难为你了。”于是仍进了后门来，俱不在话下。&lt;br /&gt;
    &lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
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&lt;br /&gt;
们遭塌，越不成体统了。”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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.” &lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.”&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 05:09, 28 April 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
Then she asked her brother to hire a sedan-chair or a small carriage and escort Precious Jade Merchant home. “I can see him back quite safely on horseback,” said Zifang. “That’s not the point. I’m afraid of his meeting someone.” &lt;br /&gt;
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 Merchant 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 Merchant 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.&lt;br /&gt;
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 Merchant 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.”&lt;br /&gt;
&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 06:43, 14 June 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210414_culture&amp;diff=123414</id>
		<title>20210414 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210414_culture&amp;diff=123414"/>
		<updated>2021-06-16T05:41:01Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Homework 7 from Apr 7 for Apr 14, 2021&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
'''《红楼梦》程甲本'''&lt;br /&gt;
&lt;br /&gt;
Please find the most beautiful translations of names and jointly agree to use them. Please also list common terms and joint translation here:&lt;br /&gt;
*Jia Baoyu = Precious Jade&lt;br /&gt;
*Jia Yucun = Rain Village&lt;br /&gt;
*Lin Daiyu = Mascara Jade&lt;br /&gt;
*Zhen Shiyin = Hide-the-facts&lt;br /&gt;
*...(everybody please add more here)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
宝玉大不自在，争奈父女之情，也不好拦阻。于是贾母定要贾琏送他去，仍叫带回来。一应土仪盘费，不消繁说，自然要妥贴。作速择了日期，贾琏与林黛玉辞别了众人，带领仆从，登舟往扬州去了。要知端的，且听下回分解。&lt;br /&gt;
&lt;br /&gt;
◎第十三回 秦可卿死封龙禁尉  王熙凤协理宁国府&lt;br /&gt;
话说凤姐儿自贾琏送黛玉往扬州去后，心中实在无趣，每到晚间，不过同平&lt;br /&gt;
儿说笑一回就胡乱睡了。这日夜间正和平儿灯下拥炉倦绣，早命浓熏绣被，二&lt;br /&gt;
人睡下，屈指算行程该到何处，不知不觉已交三鼓。平儿已睡熟了。凤姐方觉&lt;br /&gt;
睡眼微蒙，恍惚只见秦氏从外走进来，含笑说道：“婶婶好睡！我今日回去，你也不送我一程。因娘儿们素日相好，我舍不得婶婶，故来别你一别。还有一件心&lt;br /&gt;
愿未了，非告诉婶婶，别人未必中用。”&lt;br /&gt;
    &lt;br /&gt;
凤姐听了，恍惚问道：“有何心愿？只管托我就是了。”秦氏道：“婶婶，你是&lt;br /&gt;
个脂粉队里的英雄，连那些束带顶冠的男子也不能过你，你如何连两句俗语也&lt;br /&gt;
不晓得？常言：‘月满则亏，水满则溢’，又道是：‘登高必跌重。’如今我们家赫赫扬扬，已将百载，一日倘或‘乐极生悲’，若应了那句‘树倒猢狲散’的俗语，岂不虚称了一世诗书旧族了！”凤姐听了此话，心胸不快，十分敬畏，忙问道：“这话虑的极是，&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Although Precious Jade was most upset, he could hardly come between her and her father. The Lady Dowager decided that Jia Lian should accompany her granddaughter and bring her safely back. We need not dwell on the presents and arrangements for the journey, which naturally left nothing to be desired. A day was quickly chosen on which Jia Lian and Mascara Jade took their leave of everyone and, accompanied by attendants, set sail for Yangzhou. For further details, please read the next chapter.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Chapter 13  Keqing Dies and a Captain of the Imperial Guard Is Appointed, Sister Phoenix Helps to Manage Affairs in the Ning Mansion&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix found life excessively dull after her husband’s departure with Mascara Jade for Yangzhou. She passed the evenings as best she could chatting with Pinger before retiring listlessly to bed. One evening, tired of embroidering, she sat nursing her hand-stove by the lamp and told the maid to warm her embroidered quilt early, after which they both went to bed. When the third watch sounded, they were still reckoning on their fingers. The stage Jia Lian must have reached on his journey. Soon after that, Pinger fell fast asleep. And Sister Phoenix eyelids were drooping drowsily when to her astonishment in came Keqing. “How you love to sleep, auntie!” cried Keqing playfully. “I’m going home today, yet you won’t even see me one stage of the way. ” “But we’ve always been so close, I couldn’t go without coming to say goodbye. Besides, there’s something I’d like done which has no use in entrusting myself to anyone else.”&lt;br /&gt;
&lt;br /&gt;
“Just leave it to me,” replied Sister Phoenix, rather puzzled. “You’re such an exceptional woman, auntie, that even men in official belts and caps are no match for you. Is it possible you don’t know the saying that ‘the moon waxes only to wane, water brims only to overflow,’ and ‘the higher the climb, the harder the fall’? Our house has prospered for nearly a hundred years. If one day it happens that at the height of good fortune the ‘tree falls and the monkeys scatter’ as the old saying has it, then what will become of our cultured old family?” Quick to comprehend, Sister Phoenix was awe-struck. “Your fears are well-founded,” she said,&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 06:37, 21 April 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
Although Precious Jade Merchant was most upset, he could hardly come between her and her father. The Splendid Phoenix King decided that Romance Merchant should accompany her granddaughter and bring her safely back. We need not dwell on the presents and arrangements for the journey, which naturally left nothing to be desired. A day was quickly chosen on which Romance Merchant and Precious Jade Merchant took their leave of everyone and, accompanied by attendants, set sail for Yangzhou. For further details, please read the next chapter.&lt;br /&gt;
&lt;br /&gt;
Chapter 13 Frivolity Grain Dies and a Captain of the Imperial Guard Is Appointed, Splendid Phoenix King Helps to Manage Affairs in the Ning Mansion&lt;br /&gt;
Splendid Phoenix King found life excessively dull after her husband’s departure with Precious Jade Merchant for Yangzhou. She passed the evenings as best she could chatting with Patience before retiring listlessly to bed. One evening, tired of embroidering, she sat nursing her hand-stove by the lamp and told the maid to warm her embroidered quilt early, after which they both went to bed. When the third watch sounded, they were still reckoning on their fingers. The stage Romance Merchant must have reached on his journey. Soon after that, Pinger fell fast asleep. And Splendid Phoenix King eyelids were drooping drowsily when to her astonishment in came Frivolity Grain. “How you love to sleep, auntie!” cried Frivolity Grain playfully. “I’m going home today, yet you won’t even see me one stage of the way. ”  “But we’ve always been so close, I couldn’t go without coming to say goodbye. Besides, there’s something I’d like done which has no use in entrusting myself to anyone else.”&lt;br /&gt;
“Just leave it to me,” replied Splendid Phoenix King, rather puzzled. “You’re such an exceptional woman, auntie, that even men in official belts and caps are no match for you. Is it possible you don’t know the saying that ‘the moon waxes only to wane, water brims only to overflow,’ and ‘the higher the climb, the harder the fall’? Our house has prospered for nearly a hundred years. If one day it happens that at the height of good fortune the ‘tree falls and the monkeys scatter’ as the old saying has it, then what will become of our cultured old family?” Quick to comprehend, Splendid Phoenix King was awe-struck. “Your fears are well-founded,” she said.&lt;br /&gt;
&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 06:34, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
但有何法可以永保无虞？”秦氏冷笑道：“婶婶好痴也！‘否极泰来’，荣辱自古周而复始，岂人力所能常保的。但如今能于荣时筹画下将来衰时的世业，亦可以常永保全了。即如今日诸事俱妥，只有两件未妥，若把此事如此一行，则后日可保永全了。”&lt;br /&gt;
    &lt;br /&gt;
凤姐便问：“何事？”秦氏道：“目今祖茔虽四时祭祀，只是无一定的钱粮；第&lt;br /&gt;
二，家塾虽立，无一定的供给。依我想来，如今盛时固不缺祭祀供给，但将来败&lt;br /&gt;
落之时，此二项有何出处？莫若依我定见，趁今日富贵，将祖茔附近多置田庄、&lt;br /&gt;
房舍、地亩，以备祭祀供给之费皆出自此处，将家塾亦设于此。合同族中长幼，&lt;br /&gt;
大家定了则例，日后按房掌管这一年的地亩钱粮、祭祀供给之事。如此周流，又&lt;br /&gt;
无争竞，也设有典卖诸弊。便是有罪，己物可入官，这祭祀产业，连官也不人的。&lt;br /&gt;
便败落下来，子孙回家读书务农，也有个退步，祭祀又可永继。若目今以为荣华&lt;br /&gt;
不绝，不思后日，终非长策。眼见不日又有一件非常喜事，真是烈火烹油、鲜花&lt;br /&gt;
着锦之盛。要知道，也不过是瞬息的繁华，一时的欢乐，万不可忘了那‘盛筵必&lt;br /&gt;
散’的俗语。若不早为后虑，只恐后悔无益了。”凤姐忙问：“有何喜事？”秦氏道：“天机不可泄漏。只是我与婶婶好了一场，临别赠你两句话，须要记着。”&lt;br /&gt;
&lt;br /&gt;
but what plan is there adequate to preserve it from future injury？&amp;quot;&lt;br /&gt;
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&amp;quot;My dear sister-in-law，&amp;quot; rejoined Mrs. Ch'in with a sardonic smile， &amp;quot;you're very simple indeed！ When woe has reached its climax， weal supervenes. Prosperity and adversity， from days of yore up to the present time， now pass away， and now again revive， and how can （prosperity） be perpetuated by any human exertion？ But if now， we could in the time of good fortune， make provision against any worldly concerns， which might arise at any season of future adversity， we might in fact prolong and preserve it. Everything， for instance， is at present well-regulated； but there are two matters which are not on a sure footing， and if such and such suitable action could be adopted with regard to these concerns， it will， in subsequent days， be found easy to perpetuate the family welfare in its entity.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What matters are these？&amp;quot; inquired lady Feng.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Though at the graves of our ancestors，&amp;quot; explained Mrs. Ch'in， &amp;quot;sacrifices and oblations be offered at the four seasons， there's nevertheless no fixed source of income. In the second place， the family school is， it is true， in existence； but it has no definite grants-in-aid. According to my views， now that the times are prosperous， there's， as a matter of course， no lack of offerings and contributions； but by and bye， when reverses set in， whence will these two outlays be met from？ Would it not be as well， and my ideas are positive on this score， to avail ourselves of the present time， when riches and honours still reign， to establish in the immediate vicinity of our ancestral tombs， a large number of farms， cottages， and estates， in order to enable the expenditure for offerings and grants to entirely emanate from this source？ And if the household school were also established on this principle， the old and young in the whole clan can， after they have， by common consent， determined upon rules， exercise in days to come control， in the order of the branches， over the affairs connected with the landed property， revenue， ancestral worship and school maintenance for the year （of their respective term.） Under this rotatory system， there will likewise be no animosities； neither will there be any mortgages， or sales， or any of these numerous malpractices； and should any one happen to incur blame， his personal effects can be confiscated by Government. But the properties， from which will be derived the funds for ancestral worship， even the officials should not be able to appropriate， so that when reverses do supervene， the sons and grandsons of the family may be able to return to their homes， and prosecute their studies， or go in for farming. Thus， while they will have something to fall back upon， the ancestral worship will， in like manner， be continued in perpetuity. But， if the present affluence and splendour be looked upon as bound to go on without intermission， and with no thought for the day to come， no enduring plan be after all devised， presently， in a little while， there will， once again， transpire a felicitous occurrence of exceptional kind， which， in point of fact， will resemble the splendour of oil scorched on a violent fire， or fresh flowers decorated with brocades. You should bear in mind that it will also be nothing more real than a transient pageant， nothing but a short-lived pleasure！ Whatever you do， don't forget the proverb， that 'there's no banquet， however sumptuous， from which the guests do not disperse；' and unless you do， at an early date， take precautions against later evils， reGREt will， I apprehend， be of no avail.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 &lt;br /&gt;
&amp;quot;What felicitous occurrence will take place？&amp;quot; lady Feng inquired with alacrity.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;the decrees of Heaven cannot be divulged； but as I have been very friendly with you， sister-in-law， for so long， I will present you， before I take my leave， with two lines， which it behoves you to keep in mind，&amp;quot; rejoined Mrs. Ch'in，--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 07:35, 20 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
因念道：&lt;br /&gt;
        &lt;br /&gt;
三春去后诸芳尽，各自须寻各自门。&lt;br /&gt;
    &lt;br /&gt;
凤姐还欲问时，只听二门上传事云板连叩四下，正是丧音，将凤姐惊醒，人&lt;br /&gt;
回：“东府蓉大奶奶没了。”凤姐吓一身冷汗，出了一回神，只得忙穿衣往王夫人处来。彼时台府皆知，无不纳闷，都有些疑心。那长一辈的，想他素日孝顺；平辈的，想他素日知睦亲密；下一辈的，想他素日的慈爱，以及家中仆从老小，想他素日怜贫惜贱、爱老慈幼之恩，莫不悲号痛哭。&lt;br /&gt;
    &lt;br /&gt;
闲言少叙，却说宝玉因近日林黛玉回去，剩得自己落单，也不和人玩耍，每&lt;br /&gt;
到晚间，便索然睡了。如今从梦中听见说秦氏死了，连忙翻身爬起来，只觉心中&lt;br /&gt;
似戳了一刀的，不觉“哇”的一声，直喷出一口血来。袭人等慌慌忙忙上来扶&lt;br /&gt;
着，问：“是怎么样的？”又要回贾母去请大夫。宝玉道：“不用忙，不相干。这是急火攻心，血不归经。”说着便爬起来，要衣服换了，来见贾母，即时要过去。袭人见他如此，心中虽放不下，又不敢拦阻，只得由他罢了。贾母见他要去，因说：“才咽气的人，那里不干净；二则夜里风大，等明早再去不迟。”宝玉那里肯依。贾母命人备车多派跟从人役，拥护前来。&lt;br /&gt;
    &lt;br /&gt;
一直到了宁国府前，只见府门大开，两边灯火，照如白昼，乱烘烘人来人往。&lt;br /&gt;
里面哭声摇山振岳。&lt;br /&gt;
&lt;br /&gt;
With that she said: &lt;br /&gt;
&lt;br /&gt;
After the three months of the spring, all flowers will fade and each will have to find its own way out.&lt;br /&gt;
&lt;br /&gt;
Before Sister Phoenix could ask more she was woken with a start by four blows on the chime-bar at the second gate. And a servant announced, “Madam Prosperity of the East Mansion has passed away.” Sister Phoenix broke into a cold sweat. When she had recovered from her astonishment, she dressed quickly and hurried over to Lady King. By that time the whole household was lamenting, distressed by this shocking news. The old people recalled Frivolity’s filial behaviour, the young people her affectionate ways and the children her kindness; while all of the servants wept for grief recollecting her compassion for the poor and humble and her loving goodness to old and young alike. &lt;br /&gt;
&lt;br /&gt;
But let us return to Precious Jade, who was so desolate after Mascara Jade Forest’s departure that he had given up playing with his companions and went disconsolate to bed each night. Roused from sleep by the announcement of Frivolity Grain’s death, he sprang suddenly from his bed. At once he felt a stab of pain in his heart, and with a cry spat out a mouthful of blood. Aroma and his other maids rushed up to help him back to bed, asking anxiously what was the matter. Should they get the Grandma Merchant to send for a doctor? “There’s no need. It doesn't matter.” He said. “A hot humour seized on my heart and stopped the normal flow of blood.” He got up again and demanded to be dressed so that he could go to his grandmother and then to the other mansion. Anxious though Aroma was, she dared not stop him when he was in this mood.&lt;br /&gt;
Seeing that he was going, Grandma Merchant said, &amp;quot;The place is not clean where there is someone who had just breathed her last. What’s more, it's windy at night. It won’t be late to go tomorrow morning.&amp;quot; How could Precious Jade listen to Grandma Merchant! Therefore she ordered many sedans and servants to follow him, accompanying him to come.&lt;br /&gt;
&lt;br /&gt;
When they reached the Peace Mansion, they saw the door of the mansion wide open, and the lights on both sides lit up like daylight, stirring the chaos of people coming and going. Crying inside shook the mountains.&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 23:23, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
With that she said: &lt;br /&gt;
&lt;br /&gt;
After the three months of the spring, all flowers will fade and each will have to find its own way out.&lt;br /&gt;
&lt;br /&gt;
Before Sister Phoenix could ask more she was woken with a start by four blows on the chime-bar at the second gate. And a servant announced, “Madam Prosperity of the East Mansion has passed away.” Sister Phoenix broke into a cold sweat. When she came back to her senses, she dressed quickly and hurried over to Lady King. By that time the whole household was lamenting, distressed by this shocking news. The old people recalled Frivolity’s filial behaviour, the young people her affectionate feelings and the children her kindness; all the servants wept bitterly for her, when they remembered her compassion for the poor and humble, and her love for the old and the young&lt;br /&gt;
But let us return to Precious Jade, who was so desolate after Mascara Jade Forest’s departure that he had given up playing with his companions and went disconsolate to bed each night. Roused from sleep by the announcement of Frivolity Grain’s death, he sprang suddenly from his bed. At once he felt a stab of pain in his heart, and with a cry spat out a mouthful of blood. Aroma and his other maids rushed up to help him back to bed, asking anxiously what was the matter. Should they get the Grandma Merchant to send for a doctor? “There’s no need. It doesn't matter.” He said. “A hot humour seized on my heart and stopped the normal flow of blood.” He got up again and demanded to be dressed so that he could go to his grandmother and then to the other mansion. Anxious though Aroma was, she dared not stop him when he was in this mood.&lt;br /&gt;
Seeing that he was going, Grandma Merchant said, &amp;quot;The place is not clean where there is someone who had just breathed her last. What’s more, it's windy at night. It won’t be late to go tomorrow morning.&amp;quot; How could Precious Jade listen to Grandma Merchant! Therefore she ordered many sedans and servants to follow him, accompanying him to come.&lt;br /&gt;
&lt;br /&gt;
When they reached the Peace Mansion, they saw the door of the mansion wide open, and the lights on both sides lit up like daylight, stirring the chaos of people coming and going. Crying inside shook the mountains.&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 15:22, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
宝玉下了车，忙忙奔至停灵之室，痛哭一番，然后见过尤氏。谁知尤氏正犯了胃痛旧症，睡在床上。然后又出来见贾珍。彼时贾代儒、代修、贾敕、贾效、贾敦、贾赦、贾政、贾琮、贾珩、贾珖、贾琛、贾琼、贾磷、贾蔷、贾菖、贾菱、贾芸、贾芹、贾蓁、贾萍、贾藻、贾蘅、贾芬、贾芳、贾蓝、贾菌、贾芝等都来了。贾珍哭的泪人一般，正和贾代儒等说道：“合家大小，远近亲友，谁不知我这媳妇比儿子还强十倍。如今伸腿去了，可见这长房内绝灭无人了。”说着又哭起来。众人忙劝道：“人已辞世，哭也无益，且商议如何料理要紧。”贾珍拍手道：“如何料理，不过尽我所有罢了！”&lt;br /&gt;
    &lt;br /&gt;
正说着，只见秦业、秦钟并尤氏的几个眷属尤氏姊妹也都来了。贾珍便命&lt;br /&gt;
贾琼、贾琛、贾磷、贾蔷四个人去陪客，一面吩咐去请钦天监阴阳司来择日，择准停灵七七四十九日，三日后开丧送讣闻。这四十九日，单请一百零八僧众在大&lt;br /&gt;
厅上拜《大悲忏》，超度前亡后化鬼魂；另设一坛于天香楼，是九十九位全真道&lt;br /&gt;
士，打十九日解冤洗业醮。然后停灵于会芳园中，灵前另外五十众高僧，五十位&lt;br /&gt;
高道，对坛按七作好事。&lt;br /&gt;
    &lt;br /&gt;
那贾敬闻得长孙媳死了，因自为早晚就要飞升，如何肯又回家染了红尘，&lt;br /&gt;
将前功尽弃，故此并不在意，只凭贾珍料理。&lt;br /&gt;
&lt;br /&gt;
Alighting from his carriage Precious Jade hurried to the room where Frivolity Grain lay and having wept there went in to see Madam You, who happened to lay in the bed because of an old disease of stomachache. He then paid his respects to Cousin Merchant. By now Confucianism Merchant had arrived with Jia Daixiu, Jia Chi, Jia Xiao, Jia Dun, Pardon Merchant, Master Merchant, Jia Cong, Jia Bin, Jia Heng, Jia Guang, Jia Chen, Jia Qiong, Jia Lin, Rose Merchant, Jia Chang, Jia Ling, Jia Yun, Jia Qin, Jia Zhen, Jia Ping, Jia Zao, Jia Heng, Jia Fen, Jia Fang, Blue Merchant, Mushroom Merchant, Jia Zhi. Bathed in tears, Jia Zhen was telling Jia Dairu and the others, “Everyone in the family, old and young, distant or close, knows that my daughter-in-law was infinitely superior to my son. Now that she has gone, my branch of the family is fated to die out.” With that he broke down again. The man present tried to console him: “ Now that she has departed this world it is useless to weep. The main thing now is to decide what must be done .” “What must be done?”Jia Zhen clapped his hands. “I am ready to dispose of all in my possession.”&lt;br /&gt;
&lt;br /&gt;
He was interrupted by the arrival of Qin Ye, Clock Qin and other relatives of Madam You as well as her younger sisters. Leaving Jia Qiong, Jia Chen, Jia Lin and Rose Merchant to keep the guests company, Cousin Merchant sent to invite someone from the Department of Astrology to choose auspicious days. It was decided that the body should remain in the house for seven times senven or forty-nine days, and mourning should start the third day after her death with the issue of obituary notices. During the forty-nine days a hundred and eight Buddhist monks were to perform the Litany of Great Compassion in the main hall to release the souls of those passed away before and after her and win remission for the sins of the deceased. At an alter erected in the Heavenly Fragrance Pavilion, ninety-nie Taoists of the Perfect Truth Sect should pray for forty-nine days for absolution. The coffin would then be taken to the Garden of Concentrated Fragrance, where another fifty high bonzes and fifty high Taoists would sacrifice before it once every seventh day during the forty-nine days.&lt;br /&gt;
&lt;br /&gt;
Honor Merchant alone was untouched by the death of this eldest grandson’s wife. Expecting to attain immortality shortly himself, how could he go home to be soiled by mundane dust and squander all the merit he had acquired? So he left all the funeral arrangements to his son.&lt;br /&gt;
&lt;br /&gt;
Alighting from his carriage Precious Jade hurried to the room where Keqing lay. Having wept there for a while, he went in to see Madam You, who happened to lay in the bed because of an old disease of stomachache. He then paid his respects to Precious Merchant. By now Dairu Merchant had arrived with Daixiu Merchant, Chi Merchant, Xiao Merchant, Dun Merchant, She Merchant, Politics Merchant, Cong Merchant, Bin Merchant, Heng Merchant, Guang Merchant, Chen Merchant, Qiong Merchant, Lin Merchant, Rose Merchant, Chang Merchant, Ling Merchant, Yun Merchant, Qin Merchant, Zhen Merchant, Ping Merchant, Zao Merchant, Heng Merchant,  Fen Merchant, Fang Merchant, Lian Merchant, Mushroom Merchant, Zhi Merchant. Bathed in tears, Precious Merchant was speaking to Dairu Merchant and the others,“Everyone in the family, old and young, distant or close, knows that my daughter-in-law is infinitely superior to my son. Now that she has gone, my branch of the family is fated to die out.” With that she broke down again. The man present tried to console her: “ Now that she has departed this world, it is useless to weep. The main thing now is to decide what must be done .” “What must be done?”Precious Merchant clapped her hands. “I am ready to dispose of all in my possession.”&lt;br /&gt;
&lt;br /&gt;
She was interrupted by the arrival of Ye Qin, Clock Qin and other relatives of Madam You as well as her younger sisters. Leaving Qiong Merchant, Chen Merchant, &lt;br /&gt;
Lin Merchant and Rose Merchant to accompany the guests, Precious Merchant sent a servant to invite someone from the Department of Astrology to choose auspicious days. It was decided that the body should remain in the house for seven weeks or forty-nine days, and the mourning should start from the third day after her death with the issue of obituary notices. During the forty-nine days a hundred and eight monks were to perform the Litany of Great Compassion in the main hall to release the souls of those passed away before and after Keqing and win remission for the sins of the deceased. At an alter erected in the Heavenly Fragrance Pavilion, ninety-nine Taoists of the Perfect Truth Sect should pray for forty-nine days for absolution. The coffin would then be taken to the Garden of Concentrated Fragrance, where another fifty high bonzes and fifty high Taoists would sacrifice before it once every seventh day during the forty-nine days.&lt;br /&gt;
&lt;br /&gt;
Respect Merchant alone was untouched by the death of this eldest grandson's wife. Expecting to attain immortality shortly himself, how could he go home to be soiled by mundane dust and squander all the merit he had acquired? So he left all the funeral arrangements to his son.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 16:12, 20 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
且说贾珍恣意奢华，看板时，几副杉木板皆不中意。可巧薛蟠来吊，因见贾珍寻好板，便说：“我们木店里有一副板，叫作什么樯木，出在潢海铁网山上，作了棺材，万年不坏。这还是当年先父带来的，原系忠义亲王老千岁要的，因他坏了事，就不曾用。现在还封在店里，也没有人买得起。你若是要，就来看看。”贾珍听说甚喜，即命抬来，大家看时，只见帮皆厚八寸，纹若槟榔，味若檀麝，以手扣之，声如玉石。大家称奇。贾珍笑问道：“价值几何？”薛蟠笑道“拿着一千两银子只怕没买处，什么价不价，赏他们几两银子作工钱便是了。”贾珍听说，忙谢不尽，即命解锯造成。贾政因劝道：“此物恐非常人可享，殓以上等杉木也罢了。”贾珍如何肯听。&lt;br /&gt;
    &lt;br /&gt;
忽又听见秦氏之丫鬟名唤瑞珠的，见秦氏死了，也触柱而亡。此事可罕，合族都称叹。贾珍遂以孙女之礼殡殓之，一并停灵于会芳园之登仙阁。又有小丫鬟名宝珠的，因秦氏无出，乃愿为义女，请任摔丧驾灵之任。贾珍甚喜，即时传命，从此皆呼宝珠为小姐。那宝珠按未嫁女之礼，在灵前哀哀欲绝。&lt;br /&gt;
    &lt;br /&gt;
于是合族人丁并家下诸人都各遵旧制行事，自不得错乱。贾珍因想道：“贾蓉不过是黉门监，灵幡上写时不好看，便是执事也不多。”因此，心下甚不自在。&lt;br /&gt;
&lt;br /&gt;
Treasure Merchant indulged herself in luxury and found it hard to choose an ideal coffin plank. Dragon Marshgrass happened to visit at this time. Finding Treasure Merchant was choosing for a good plank, he said,&amp;quot; There is a plank in our wood store. It is found on the Iron Net Mountain at Huanghai and is named Qiang. If you use it as the coffin, it won't rot for thousands of years. It was ordered by Old Thousand and was brought back by my dead father. However, considering his crime, the wood has never been used, and as no one can afford it, it is still lying in the store now. If you are interested, now and have a look.&amp;quot; Treasure Merchant was so delighted when hearing this that she immediately asked the servants to bring it here. The width of the wood was eight cun, with areca-not-like stripes and a smell of sandalwood and musk. When being knocked, it sounds like the jade. Everyone complimented the wood, including Treasure Merchant, smiling contentedly and asked the price of it. Dragon Marshgrass laughed,&amp;quot; Don't think about the price. We only worry no one would buy it. Just pay several silver and that's a deal.&amp;quot; Hearing this, Treasure Merchant hurriedly expressed her gratitude and immediately requested others to separate it. Master Merchant persuaded,&amp;quot; It is not for a normal person to enjoy. It's okay if we use another good plank,&amp;quot; but how could Treasure Merchant listen to his advice?&lt;br /&gt;
&lt;br /&gt;
It was heard that one of Qin's maids, named Auspicious Pearl, committed suicide on the news of Qin's death. It was so rarely seen that the whole family was shocked. Treasure Merchant encoffined her following the rules for a dead granddaughter and buried her together at the Immortal Pavilion in the Meeting Fragrance Garden. As Qin had no descendant, another young maid named Jewel willingly become an adopted daughter and offered to play a role in the funeral. Treasure Merchant was really happy and asked others to call her miss ever since. That Jewel followed the rule of an unmarried women to cry sadly in front of the tomb.&lt;br /&gt;
&lt;br /&gt;
Everyone in the family acted as the old discipline without any mistake. Treasure Merchant wondered,&amp;quot; Prosperity Merchant is only a student from the Imperial College. He doesn't write well on the band of mourning, and doesn't arrange many affairs.&amp;quot; Thinking about this, she felt quite uncomfortable.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 15:09, 16 April 2021 (UTC)--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 14:07, 26 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Treasure Merchant indulged herself in extravagance. She found it hard to choose an ideal coffin plank when choosing planks.Dragon Marshgrass happened to visit at this time. Finding Treasure Merchant was choosing for a good plank, he said,&amp;quot; There is a plank called Qiang in our timber shop. It is found on the Iron-Net Mountain at Huanghai . If you use it as the coffin, it won't rot for thousands of years. It was ordered by Old Thousand and was brought back by my dead father. However, after his disgrece, the wood has never been used, and no one dare to buy it at a high price. It is still lying in the store now. If you are interested, now and have a look.&amp;quot; Overjoyed by his words, Treasure Merchant ordered the servants to fetch it without delay. The width of the wood was eight cun, with areca-not-like stripes and a smell of sandalwood and musk. When being knocked, it sounds like the jade. Everyone complimented the wood, including Treasure Merchant, smiling contentedly and asked the price of it. Dragon Marshgrass laughed,&amp;quot; Don't think about the price. We only worry no one would buy it. Just pay several silver and that's a deal.&amp;quot; Hearing this, Treasure Merchant hurriedly expressed her gratitude and immediately requested others to separate it. Master Merchant persuaded,&amp;quot; “This seems too sumptuous for ordinary people. The best quality cedar-boards would be quite adequate.” but how could Treasure Merchant listen to his advice?It was heard that one of Qin's maids, named Auspicious Pearl, committed suicide on the news of Qin's death. It was so rarely seen that the whole family was shocked. Treasure Merchant encoffined her following the rules for a dead granddaughter and buried her together at the Immortal Pavilion in the Meeting Fragrance Garden. As Qin had no descendant, another young maid named Jewel willingly become an adopted daughter and offered to play a role in the funeral. Treasure Merchant was really happy and asked others to call her miss ever since. That Jewel followed the rule of an unmarried women to cry sadly in front of the tomb.All the clansmen and servants observed the etiquette traditionally prescribed for such occasions with unimpeachable propriety. Treasure Merchant wondered,&amp;quot; Prosperity Merchant is only a student from the Imperial College. This would not look well in the inscription on the funeral banner and so did his arrangements for affairs.&amp;quot; Thinking about thas, she felt quite uncomfortable.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 13:42, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
可巧这日正是首七第四日，早有大明宫掌宫内监戴权，先备了祭礼遣人来，&lt;br /&gt;
次坐了大轿，打道鸣锣，亲来上祭。贾珍忙接陪，让坐至逗蜂轩献茶。贾珍心中&lt;br /&gt;
早打定了主意，因而趁便就说要与贾蓉捐个前程的话。戴权会意，因笑道：“想&lt;br /&gt;
是为丧礼上风光些？”贾珍忙道：“老内相所见不差。”戴权道：“事倒凑巧，正有个美缺。如今三百员龙禁尉缺了两员，昨儿襄阳侯的兄弟老三来求我，现拿了一千五百两银子送到我家里。你知道，咱们都是老相好，不拘怎么样，看着他爷爷的分上，胡乱应了。还剩了一个缺，谁知永兴节度使冯胖子要求与他孩子捐，&lt;br /&gt;
我就没工夫应他。既是咱们的孩子要捐，快写个履历来。”贾珍忙命人写了一&lt;br /&gt;
张红纸履所来。戴权看了，上写着：&lt;br /&gt;
        &lt;br /&gt;
江南应天府江宁县监生贾蓉，年二十岁。曾祖，原任京营节度使世袭一等神威将军贾代化。祖，丙辰科进士贾敬。父，世袭三品爵威烈将军贾珍。&lt;br /&gt;
    &lt;br /&gt;
戴权看了，回手递与一个贴身的小厮收了，道：“回去送与户部堂官老赵，&lt;br /&gt;
说我拜上他起一张五品龙禁尉的票，再给个执照，就把这履历填上，明日我来兑&lt;br /&gt;
银子送过去。”小厮答应了。戴权告辞，贾珍款留不住，只得送出府门。临上轿，&lt;br /&gt;
贾珍问：“银子还是我到部去兑，还是送人内相府中？”戴权道：“若到部里兑，你又吃亏了；不如平准一千两银子送到我家就完了。”&lt;br /&gt;
It happened to be July 4th today. Power Advocacy, a superintendent who was in charge of the imperial things in The Daming Palace, first prepared a sacrifice ceremony ,ordered servants and then took the sedan chair to came to offer sacrifices in person, with gong being beaten along the whole way.  Treasure Merchant rushed to greet, offering a cup of tea at the Doubee House. Having made up his mind early,  Treasure Merchant took the opportunity to ask for a good position for  Prosperity Merchant. Knowing that, Power Advocacy smiled and said:&amp;quot;Is it for  pompat at the funeral？”  Treasure Merchant quikly said:&amp;quot; you get the meaning.&amp;quot; Power Advocacy responded:&amp;quot;By coincidence, there is a good position. Two members are needed in royal safeguards which consist of three hundred men. Yesterday, The Third,a brother of Duck of Xiangyang visited me and now he take 1,500 taels of silver to my house. You know, we are all good old friends, and because of his grandfather, I just responded indiscriminately. There was still one vacancy left, but no one expects that Fatty Feng , the military commissioner of Yongxing, arranges it for his children. I have no time to respond to him. If your children want it, ask him to write a resume at once.&amp;quot; Treasure Merchant hastily ordered someone to write a resum in a piece of red paper. Power Advocacy looked at the resume which said:  Prosperity Merchant, examinee of Jiangning County,is 20 years old.His great-grandfather was Virtuous Merchant , a hereditary First Class Shenwei general, who served as the imperial commander in Beijing. His grandfather  was an advanced scholar in Bingchen. His father Treasure Merchant was Hereditorial General Willy, Third Pinker. Skimming over it. Power Advocacy gave it to a  close attendant and said:&amp;quot;Go back and send it to Zhao, the minister of the household department, and tell him that I ask him to give him a ticket for the fifth grade dragon banned lieutenant, and then give a license and  fill in this resume. I will exchange some money and send it to his house tomorrow.&amp;quot; The attendant agreed. When Power Advocacy was ready to leave,  Treasure Merchant wanted him to stay longer but faied, noly to send him out of the mansion. When it was time to get on the sedan, Treasure Merchant asked: &amp;quot;Should I go to the ministry to cash the silver, or send it to the interior minister's house?&amp;quot;Power Advocacy said:&amp;quot; If you go to the Ministry, you will suffer a loss; It would be better to send 1,000 taels of silver to my house.&amp;quot;--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 08:54, 27 April 2021 (UTC)--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 12:54, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
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As luck would have it, however, on the fourth day of the first week of mourning servants with sacrificial offerings arrived from the eunuch Power Advocacy, chamberlain of the Palace of Great Splendour, who followed in a great palanquin with an official umbrella and gonging and drumming to offer an oblation. Jia Zhen ushered him eagerly in and offered him tea in the Bee-Teasing Pavilion. He already had a scheme in mind and soon found occasion to express his wish to purchase a rank for his son. Power Advocacy rejoined with a knowing smile, “To make the funeral more sumptuous, I presume?” “Your assumption is correct, sir.”By a fortunate coincidence there happens to be a good post going. There are two vacancies in the corps of three hundred officers of the Imperial Guard.  Yesterday the third brother of the Marquis of Xiangyang sent me 1,500 taels and asked me for one of them; and since we are old friends, as you know, for his grandfather’s sake I made no difficulties but agreed out of hand. Who would have expected that Fatty Feng, Military Governor of Yongxing, wants to buy the other appointment for his son; but I haven’t yet had time to give him an answer. ”If your boy wants it, make haste and write out a statement of his antecedents.”Treasure Merchantat once sent a servant to pass on these instructions to his secretaries. The man returned presently with a sheet of red paper. After glancing at it Jia Zhen handed it to Dai Quan, who read: Jia Rong, twenty, State Scholar of Jiangning District, Jiangning Prefecture, Jiangnan. Great-grandfather: Power Advocacy, commander-in-chief of the Metropolitan Garrison and a hereditary general of the first class with the appellation Spiritual Might. Grandfather: Jia Jing, Metropolitan Scholar of the Yi Mao year. Father: Jia Zhen, hereditary general of the third rank with the appellation Mighty Intrepidity. Power Advocacy ordered one of his attendants, &amp;quot;Take this to Old Zhao, chief of the Board of Revenue, with my compliments. Ask him to draw up a warrant for an officer of the fifth rank in the Imperial Guard and to fill out a commission according to these particulars. Tomorrow I will weigh out the silver and send it over. Dai Quan then took his leave. His host, who could not detain him, saw him out. Before the eunuch mounted his palanquin Jia Zhen asked: “Shall I take the money to the Board or to you, sir?” “Just weigh out 1,200 taels and send it to my house. If you go to the Board, they’ll fleece you.”&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:31, 20 April 2021 (UTC)&lt;br /&gt;
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=Wáng Chǔyí 王楚仪=&lt;br /&gt;
贾珍感谢不尽，因说：“待服满后，亲带大小犬到府叩谢。”于是作别。&lt;br /&gt;
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接着又听喝道之声，原来是忠靖侯史鼎的夫人来了。王夫人、邢夫人、凤&lt;br /&gt;
姐等刚迎入正房，又见锦乡侯、川宁侯、寿山伯三家祭礼也摆在灵前；少时，三人下轿，贾珍接上大厅。如此亲朋你来我去，也不能计数。只这四十九日，宁国府街上一条白漫漫人来人往，花簇簇官来官去。&lt;br /&gt;
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贾珍令贾蓉次日换了吉服，领凭回来。灵前供用执事等物俱按五品职例，&lt;br /&gt;
灵牌疏上皆写“诰授贾门秦氏宜人之灵位”。会芳园临街大门洞开，两边起了&lt;br /&gt;
鼓乐厅，两班青衣按时奏乐，一对对执事摆的刀斩斧截。更有两面朱红销金大&lt;br /&gt;
牌竖在门外，上面大书道：“防护内廷紫禁道御前侍卫龙禁尉。”对面高起着宣&lt;br /&gt;
坛，僧道对坛，榜上大书“世袭宁国公冢孙妇防护内廷御前侍卫龙禁尉贾门秦&lt;br /&gt;
氏宜人之丧。四大部洲至中之地，奉天永建太平之国，总理虚无寂静教门僧录&lt;br /&gt;
司正堂万、总理元始正一教门道纪司正堂叶生等，敬谨修斋，朝天叩佛”以及&lt;br /&gt;
“恭请诸‘伽蓝’‘揭谛’‘功曹’等神，圣恩普锡，神戚远振，四十九日销灾洗业平安水陆道场”等语，亦不及繁记。&lt;br /&gt;
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只是贾珍虽然心意满足，但里面尤氏又犯了旧疾，不能料理事务，惟恐各&lt;br /&gt;
诰命来往，亏了礼数，怕人笑话，因此心中不自在。&lt;br /&gt;
&lt;br /&gt;
Jia Zhen thanked him warmly and promised, &amp;quot;When the mourning is over I shall bring my worthless son to kowtow his thanks.” And so they parted. Then runners could be heard clearing the way for the wife of Shi Ding, Marquis of Zhongjing.  Lady Wang, Lady Xing, and Xifeng welcomed her into the drawing-room. Then sacrificial gifts from the Marquises of Jinxiang and Channing as well as the Earl of Shoushan were displayed before the coffin. Presently these three nobles alighted from their palanquins and Jia Zhen ushered them into the main hall. So relatives and friends past counting came and went. Indeed, for forty-nine days the street outside the Ning Mansion was a sea of mourners in white interspersed by officials in their brilliant robes. At his father’s order, Jia Rong changed into court dress the next day to collect his commission, after which the funerary ware in front of the coffin as well as the insignia for the cortege was made to befit an official of the fifth rank. The obituary tablet and notice were inscribed: “Obsequies of Lady Qin, Spouse of the House of Jia, Granted a Rank by Imperial Decree off the Celestial Court.” The street gate in the Garden of Concentrated Fragrance was opened, and on platforms erected at both sides groups of blue-clad musicians played at appropriate times. The retinue stood in pairs in perfect symmetry, and two large vermilion boards set up outside the gate bore the bold gilt inscriptions “Imperial Guard and Defender of the Palace Roads in the Inner Court of the Forbidden City.” Across the road, facing each other, towered two altars for Buddhist and Taoist priests. The announcement on them read Obsequies of Lady Qin of the Jia Family, Consort of the Eldest Great-Grandson of the Hereditary Duke of Ningguo, Imperial Guard and Defender of the Palace Roads in the Inner Court of the Forbidden City. In this land of peace and empire ruled according to the will of Heaven, in the center of the four continents, we, Chief Buddhist Abbot Wan Xu, Controller of the School of the Void and Asceticism, and Chief Taoist Abbot Ye Sheng, Controller of the Primordial School of the Trinity, having reverently purified ourselves raise our eyes to Heaven and kowtow to Buddha. We humbly invoke all divinities to show their divine compassion and display their spiritual majesty afar in these forty-nine days of grand sacrifice, that the departed may be delivered from sins and absolved from retribution. There was more in the same vein. Now all that still troubled Jia Zhen was the fact that his wife was ill in bed again, unable to see to things. If any breach of etiquette occurred while so many nobles were calling, the family would be laughed at. &lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:24, 20 April 2021 (UTC)&lt;br /&gt;
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Treasure Merchant thanked him warmly and promised, &amp;quot;When the mourning is over I shall bring my worthless son to kowtow his thanks.” And so they parted. Then runners could be heard clearing the way for the wife of Shi Ding, Marquis of Zhongjing.  Lady Wang, Lady Xing, and Splendid Phoenix welcomed her into the drawing-room. Then sacrificial gifts from the Marquises of Jinxiang and Channing as well as the Earl of Shoushan were displayed before the coffin. Presently these three nobles alighted from their palanquins and Treasure Merchant ushered them into the main hall. So relatives and friends past counting came and went. Indeed, for forty-nine days the street outside the Ning Mansion was a sea of mourners in white interspersed by officials in their brilliant robes. At his father’s order, Jia Rong changed into court dress the next day to collect his commission, after which the funerary ware in front of the coffin as well as the insignia for the cortege was made to befit an official of the fifth rank. The obituary tablet and notice were inscribed: “Obsequies of Lady Qin, Spouse of the House of Jia, Granted a Rank by Imperial Decree off the Celestial Court.” The street gate in the Garden of Concentrated Fragrance was opened, and on platforms erected at both sides groups of blue-clad musicians played at appropriate times. The retinue stood in pairs in perfect symmetry, and two large vermilion boards set up outside the gate bore the bold gilt inscriptions “Imperial Guard and Defender of the Palace Roads in the Inner Court of the Forbidden City.” Across the road, facing each other, towered two altars for Buddhist and Taoist priests. The announcement on them read Obsequies of Lady Qin of the Jia Family, Consort of the Eldest Great-Grandson of the Hereditary Duke of Ningguo, Imperial Guard and Defender of the Palace Roads in the Inner Court of the Forbidden City. In this land of peace and empire ruled according to the will of Heaven, in the center of the four continents, we, Chief Buddhist Abbot Wan Xu, Controller of the School of the Void and Asceticism, and Chief Taoist Abbot Ye Sheng, Controller of the Primordial School of the Trinity, having reverently purified ourselves raise our eyes to Heaven and kowtow to Buddha. We humbly invoke all divinities to show their divine compassion and display their spiritual majesty afar in these forty-nine days of grand sacrifice, that the departed may be delivered from sins and absolved from retribution. There was more in the same vein. Now all that still troubled Jia Zhen was the fact that his wife was ill in bed again, unable to see to things. If any breach of etiquette occurred while so many nobles were calling, the family would be laughed at. &lt;br /&gt;
—[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 06:54, 9 June 2021 (UTC)&lt;br /&gt;
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Treasure Merchant thanked him warmly and promised, &amp;quot;When the mourning is over I shall bring my worthless son to kowtow his thanks.” And so they parted. Then runners could be heard clearing the way for the wife of Shi Ding, Marquis of Zhongjing.  Lady King, Lady City, and Splendid Phoenix welcomed her into the drawing-room. Then sacrificial gifts from the Marquises of Jinxiang and Channing as well as the Earl of Shoushan were displayed before the coffin. Presently these three nobles alighted from their palanquins and Treasure Merchant ushered them into the main hall. So relatives and friends past counting came and went. Indeed, for forty-nine days the street outside the Ning Mansion was a sea of mourners in white interspersed by officials in their brilliant robes. At his father’s order, Prosperity Merchant changed into court dress the next day to collect his commission, after which the funerary ware in front of the coffin as well as the insignia for the cortege was made to befit an official of the fifth rank. The obituary tablet and notice were inscribed: “Obsequies of Lady Qin, Spouse of the House of Jia, Granted a Rank by Imperial Decree off the Celestial Court.” The street gate in the Garden of Concentrated Fragrance was opened, and on platforms erected at both sides groups of blue-clad musicians played at appropriate times. The retinue stood in pairs in perfect symmetry, and two large vermilion boards set up outside the gate bore the bold gilt inscriptions “Imperial Guard and Defender of the Palace Roads in the Inner Court of the Forbidden City.” Across the road, facing each other, towered two altars for Buddhist and Taoist priests. The announcement on them read Obsequies of Lady Qin of the Jia Family, Consort of the Eldest Great-Grandson of the Hereditary Duke of Ningguo, Imperial Guard and Defender of the Palace Roads in the Inner Court of the Forbidden City. In this land of peace and empire ruled according to the will of Heaven, in the center of the four continents, we, Chief Buddhist Abbot Wan Xu, Controller of the School of the Void and Asceticism, and Chief Taoist Abbot Ye Sheng, Controller of the Primordial School of the Trinity, having reverently purified ourselves raise our eyes to Heaven and kowtow to Buddha. We humbly invoke all divinities to show their divine compassion and display their spiritual majesty afar in these forty-nine days of grand sacrifice, that the departed may be delivered from sins and absolved from retribution. There was more in the same vein. Now all that still troubled Treasure Merchant was the fact that his wife was ill in bed again, unable to see to things. If any breach of etiquette occurred while so many nobles were calling, the family would be laughed at. &lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 17:13, 27 April 2021 (UTC)&lt;br /&gt;
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=Wáng Jìngyí 王静怡=&lt;br /&gt;
当下正忧虑时，因宝玉在侧，便问道：“事事都算安贴了，大哥哥还愁什么？”贾珍便将里面无人的话告诉了他。宝玉听说，笑道：“这有何难，我荐一个人与你，权理这一个月的事，管保妥当。”贾珍忙问：“是谁？”宝玉见坐间还有许多亲友，不便明言，走向贾珍耳边说了两句。贾珍听了，喜不自胜，笑道：“这果然妥贴，如今就去。”说着，拉了宝玉，薛了众人，便往上房里来。&lt;br /&gt;
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可巧这日非正经日期，亲友来的少，里面不过几位近亲堂客，邢夫人、王夫&lt;br /&gt;
人、凤姐并合族中的内眷陪坐。闻人报：“大爷进来了。”唬的众婆娘“唿”的一声，往后藏之不迭，独凤姐款款站了起来。&lt;br /&gt;
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贾珍此时也有些病症在身，二则过于悲痛，因拄个拐踱了进来。邢夫人等因说道：“你身上不好，又连日事多，该歇歇才是，又进来做什么？”贾珍一面拄拐，扎挣着要蹲身跪下请安道乏；邢夫人等忙叫宝玉搀住，命人??椅子与他坐。&lt;br /&gt;
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贾珍不肯坐，因勉强陪笑道：“侄儿进来有一件事要求二位婶婶并大妹妹。”邢夫人等忙问：“什么事？”贾珍忙忙道：“婶婶自然知道，如今孙子媳妇没了，侄儿媳妇又病倒，我看里头着实不成体统。要屈尊大妹妹一个月，在这里料理料理，我就放心了。”&lt;br /&gt;
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Precious Jade noticed his preoccupation and asked: “Why do you look so anxious, cousin, now that everything’s settled so satisfactorily?” When told the reason he said cheerfully, “That’s no problem. I’ll recommend someone to take charge for you. Let her see to things this month and I guarantee that everything will go smoothly.”“Who do you mean?” Since there were many friends and relatives present, Precious Jade drew closer and whispered into his ear.“Excellent!” Treasure Merchant sprang to his feet, overjoyed. “I must see to it at once.” Taking leave of the others he hurried off with Precious Jade to the drawing-room.&lt;br /&gt;
As this was not one of the major days on which masses were said, only a few ladies who were close relatives had come. They were being entertained by Lady Xing, Lady Wang, Xifeng and other women of the household when Treasure Merchant was announced.The ladies uttered cries of astonishment and hurriedly tried to slip into the inner room. Only Xifeng stood up composedly.&lt;br /&gt;
Treasure Merchant was not in good health himself at this time and, being weighed down with grief, he limped in with a cane.“You are not well,” said Lady Xing. “After all your recent exertions you ought to rest. What business brings you here?”Still clutching his cane, Treasure Merchant made an effort to kneel to greet and thank his kinswomen. Lady Xing urged Precious Jade to restrain him and had a chair placed for him, but he would not take it. &lt;br /&gt;
Forcing a smile he announced, &amp;quot;Your nephew has come to ask a favour of his aunts and cousin.”“What is it?” inquired Lady Xing.“You know how it is, aunt. With my daughter-in-law gone and my wife ill in bed, everything is at sixes and sevens in the inner apartments. If my cousin Xifeng would condescend to take charge here for a month, that would set my mind at rest.”&lt;br /&gt;
&lt;br /&gt;
When he was worried， Precious Jade was aside him and asked: “Why do you look so anxious, cousin, now that everything’s settled so satisfactorily?” When told the reason he said cheerfully, “That’s no problem. I’ll recommend someone to take charge for you. Let her see to things this month and I guarantee that everything will go smoothly.”“Who?” Since there were many friends and relatives present, Precious Jade drew closer and whispered into his ear.“Excellent! We are going to see him now!” Treasure Merchant sprang to his feet, overjoyed.  Taking leave of the others he hurried off with Precious Jade to the drawing-room. &lt;br /&gt;
&lt;br /&gt;
As this was not one of the major days on which masses were said, only a few ladies who were close relatives had come. They were being entertained by Lady Xing, Lady Wang, Phoenix and other women of the household when Treasure Merchant was announced.The ladies uttered cries of astonishment and hurriedly tried to slip into the inner room. Only Phoenix stood up composedly. &lt;br /&gt;
&lt;br /&gt;
Treasure Merchant was not in good health himself at this time and, being weighed down with grief, he limped in with a cane.“You are not well,” said Lady Xing. “After all your recent exertions you ought to rest. What business brings you here?”Still clutching his cane, Treasure Merchant made an effort to kneel to greet and thank his kinswomen. Lady Xing urged Precious Jade to restrain him and had a chair placed for him,.&lt;br /&gt;
&lt;br /&gt;
But Treasure Merchant refused to take it. Forcing a smile he announced, &amp;quot;Your nephew has come to ask a favour of his aunts and cousin.”“What is it?” inquired Lady Xing.“You know how it is, aunt. With my daughter-in-law gone and my wife ill in bed, everything is at sixes and sevens in the inner apartments. If my cousin Phoenix would condescend to take charge here for a month, that would set my mind at rest.”--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 14:54, 15 June 2021 (UTC)&lt;br /&gt;
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=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
邢夫人笑道：“原来为这个。你大妹妹现在你二婶婶家，只和你二婶婶说就是了。”王夫人忙道：“他一个小孩子，何曾经过这些事，倘或料理不清，反叫人笑话，倒是再烦别人好。”贾珍笑道：“婶婶的意思，侄儿猜着了，是怕大妹妹劳苦了。若说料理不开，从小儿大妹妹玩笑时就有杀伐决断，如今出了阁，在那府里办事，越发历练老成了。我想了这几日，陈了大妹妹再无人可求了。婶婶不看侄儿与侄儿媳妇面上，只看死的分上罢！”说着流下泪来。&lt;br /&gt;
    &lt;br /&gt;
王夫人心中为的是凤姐未经过丧事，怕他料理不起，被人见笑；今见贾珍苦苦的说，心中已活了几分，却又眼看着凤姐出神。那凤姐素日最喜揽事，好卖弄能干，今见贾珍如此央他，心中早已允了；又见王夫人有活动之意，便向王夫人道：“大哥说得如此恳切，太太就依了罢。”王夫人悄悄的问道：“你可能么？”&lt;br /&gt;
&lt;br /&gt;
凤姐道：“有什不能！算外面的大事，已经大哥哥料理清了，不过是里面照管照管。便是我有不知的，问太太就是了。”王夫人见说得有理，便不出声。贾珍见凤姐允了，又陪笑道：“也管不得许多了，横竖要求大妹妹辛苦辛苦。我这里先与大妹妹行礼，等完了事，我再到那府里去谢。”说着就作揖下去，凤姐连忙还礼不迭。&lt;br /&gt;
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Lady Xing laughed, &amp;quot;So that is what you do for. Your eldest sister is now with your second aunt and you just ask your second aunt.&amp;quot; Lady Wang hastily said:&amp;quot;She is such a child to has not experience these things. Ilf she can't deal with these well, then it will show other joke. lt's better not to annoy others anymore.” &amp;quot;l can guess your real objection, aunt,&amp;quot; he replied. &amp;quot;You're afraid she'd find it too tiring. As for handling things badly, l know that wouldn't be the case. And any little slip would be overlooked. Ever since she was a child at play Sister Phoenix has known her own mind, and by managing the other house since her marriage she's gained experience. l've been thinking this over for some days and there's no one else so competent. If you won't agree for my sake or my wife's, aunt, do it for the one who's dead.&amp;quot; His tears flowed again.&lt;br /&gt;
&lt;br /&gt;
Lady Wang's only concern had been lest Sister Phoenix, having no experience of funerals, might lay herself open to ridicule by managing badly. The earnestness of Jia Zhen's request softened her heart and she eyed Sister Phoenix thoughtfully. Now Sister Phoenix loved nothing better than displaying her administrative ability. Although she ran the household competently, as she had never been entrusted with grand affairs like weddings or funerals she was afraid others were not yet fully convinced of her efficiency and she was longing for a chance like this. Jia Zhen's request delighted her. &lt;br /&gt;
&lt;br /&gt;
Seeing that his eagerness was overcoming Lady Wang's initial reluctance, she said:&amp;quot;Since my cousin is so earnest and pressing, won't you give your consent, madam?”- “Are you sure you can cope?&amp;quot; whispered Lady Wang. &amp;quot;l don't see why not. Cousin Zhen has seen to all the important outside arrangements, it's just a question of keeping an eye on the domestic side. And in case of doubt, I can consult you &amp;quot;Since this was reasonable, Lady Wang made no further objection. &amp;quot;l can't see to everything,&amp;quot; Jia Zhen said to Sister Phoenix. &amp;quot;I must beg you to help us, cousin lets me express my gratitude now, and when everything's over l shall come round to your side to thank you properly.&amp;quot; He made a low bow and, before she could return it.&lt;br /&gt;
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/&lt;br /&gt;
Lady City laughed, &amp;quot;So that is what you do for. Your eldest sister is now with your second aunt and you just ask your second aunt.&amp;quot; Lady Wang hastily said:&amp;quot;She is such a child to has not experience these things. lf she can't deal with these well, then it will show other joke. lt's better not to annoy others anymore.&amp;quot; &amp;quot;l can guess your real objection, aunt,&amp;quot; he replied. &amp;quot;You're afraid she'd find it too tiring. As for handling things badly, l know that wouldn't be the case. And any little slip would be overlooked. Ever since she was a child at play Sister Phoenix has known her own mind, and by managing the other house since her marriage she's gained experience. I‘ve been thinking this over for some days and there's no one else so competent. If you won't agree for my sake or my wife's, aunt, do it for the one who's dead.&amp;quot; His tears flowed again.&lt;br /&gt;
&lt;br /&gt;
Lady Wang's only concern had been lest Sister Phoenix, having no experience of funerals, might lay herself open to ridicule by managing badly. The earnestness of Cousin Zhen's request softened her heart and she eyed Sister Phoenix thoughtfully Now Sister Phoenix loved nothing better than displaying her administrative ability. Although she ran the household competently, as she had never been entrusted with grand affairs like weddings or funerals she was afraid others were not yet fully convinced of her efficiency and she was longing for a chance like this Cousin Zhen's request delighted her. &lt;br /&gt;
&lt;br /&gt;
Seeing that his eagerness was overcoming Lady Wang's initial reluctance, she said:&amp;quot;Since my cousin is so earnest and pressing, won't you give your consent, madam?”- &amp;quot;Are you sure you can cope?&amp;quot; whispered Lady Wang. &amp;quot;l don't see why not. Cousin Zhen has seen to all the important outside arrangements, it's just a question of keeping an eye on the domestic side. And in case of doubt, I can consult you &amp;quot;Since this was reasonable, Lady Wang made no further objection. &amp;quot;I can't see to everything,&amp;quot; Cousin Zhen said to Sister Phoenix. &amp;quot;l must beg you to help us, colIsin lets me express my gratitude now, and when everything over l shall come round to your side to thank you properly.&amp;quot; He made a low bow and, before she could return it.&lt;br /&gt;
--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 05:33, 28 April 2021 (UTC)&lt;br /&gt;
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Lady Xing laughed, “So that is what you do for. Your eldest sister is now with your second aunt and you just ask your second aunt.” Lady Wang hastily said: “She is such a child to has not experience these things. If she can’t deal with these well, then it will show other joke. It’s better not to annoy others anymore.” - &lt;br /&gt;
&lt;br /&gt;
“I can guess your real objection, aunt,” he replied. “You’re afraid she’d find it too tiring. As for handling things badly, I know that wouldn’t be the case. And any little slip would be overlooked.&lt;br /&gt;
&lt;br /&gt;
Ever since she was a child at play SisterPhoenix has known her own mind, and by managing the other house since her marriage she’s gained experience. I’ve been thinking this over for some days and there’s no one else so competent. If you won’t agree for my sake or my wife’s, aunt, do it for the one who’s dead.” His tears flowed again.&lt;br /&gt;
&lt;br /&gt;
Lady Wang’s only concern had been lest SisterPhoenix, having no experience of funerals, might lay herself open to ridicule by managing badly. The earnestness of Jia Zhen’s request softened her heart and she eyed SisterPhoenix thoughtfully.Now SisterPhoenix loved nothing better than displaying her administrative ability. Although she ran the household competently, as she had never been entrusted with grand affairs like weddings or funerals she was afraid others were not yet fully convinced of her efficiency and she was longing for a chance like this.Jia Zhen’s request delighted her. Seeing that his eagerness was overcoming Lady Wang’s initial reluctance, she said: “Since my cousin is so earnest and pressing, won’t you give your consent, madam?” - “Are you sure you can cope?” whispered Lady Wang. &lt;br /&gt;
“I don’t see why not. Cousin Zhen has seen to all the important outside arrangements, it’s just a question of keeping an eye on the domestic side. And in case of doubt, I can consult you.”Since this was reasonable, Lady Wang made no further objection. “I can’t see to everything,” Jia Zhen said to SisterPhoenix. “I must beg you to help us, cousin.Let me express my gratitude now, and when everything’s over I shall come round to your side to thank you properly.” He made a low bow and, before she could return it.&lt;br /&gt;
&lt;br /&gt;
/&lt;br /&gt;
Lady City laughed, “So that is what you do for. Your eldest sister is now with your second aunt and you just ask your second aunt.” Lady Wang hastily said: “She is such a child to has not experience these things. If she can’t deal with these well, then it will show other joke. It’s better not to annoy others anymore.” - &lt;br /&gt;
&lt;br /&gt;
“I can guess your real objection, aunt,” he replied. “You’re afraid she’d find it too tiring. As for handling things badly, I know that wouldn’t be the case. And any little slip would be overlooked.&lt;br /&gt;
&lt;br /&gt;
Ever since she was a child at play SisterPhoenix has known her own mind, and by managing the other house since her marriage she’s gained experience. I’ve been thinking this over for some days and there’s no one else so competent. If you won’t agree for my sake or my wife’s, aunt, do it for the one who’s dead.” His tears flowed again.&lt;br /&gt;
&lt;br /&gt;
Lady Wang’s only concern had been lest SisterPhoenix, having no experience of funerals, might lay herself open to ridicule by managing badly. The earnestness of Cousin Zhen’s request softened her heart and she eyed SisterPhoenix thoughtfully.Now SisterPhoenix loved nothing better than displaying her administrative ability. Although she ran the household competently, as she had never been entrusted with grand affairs like weddings or funerals she was afraid others were not yet fully convinced of her efficiency and she was longing for a chance like this.Cousin Zhen’s request delighted her. Seeing that his eagerness was overcoming Lady Wang’s initial reluctance, she said: “Since my cousin is so earnest and pressing, won’t you give your consent, madam?” - “Are you sure you can cope?” whispered Lady Wang. &lt;br /&gt;
“I don’t see why not. Cousin Zhen has seen to all the important outside arrangements, it’s just a question of keeping an eye on the domestic side. And in case of doubt, I can consult you.”Since this was reasonable, Lady Wang made no further objection. “I can’t see to everything,” Cousin Zhen said to SisterPhoenix. “I must beg you to help us, cousin.Let me express my gratitude now, and when everything’s over I shall come round to your side to thank you properly.” He made a low bow and, before she could return it.&lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:04, 9 June 2021 (UTC)&lt;br /&gt;
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=Wáng Zǐhán 王子涵=&lt;br /&gt;
贾珍便命人取了宁国府对牌来，命宝玉送与凤姐，说道：“妹妹爱怎么就怎&lt;br /&gt;
么样办，要什么，只管拿这个取去，也不必问我。只求别存心替我省钱，要好看&lt;br /&gt;
为上；二则也同那府里一样待人才好，不要存心怕人抱怨。只这两件外，我再没&lt;br /&gt;
不放心的了。”凤姐不敢就接牌，只看着王夫人，王夫人道：“你大哥既这么说，你就照看照看罢了。只是别自作主意，有了事打发人问你哥哥嫂子一声儿要&lt;br /&gt;
紧。”宝玉早向贾珍手里接过对牌来，强递与凤姐了。贾珍又问：“妹妹还是住&lt;br /&gt;
在这里，还是天天来呢？若是天天来，越发辛苦了。我这里赶着收拾出一个院&lt;br /&gt;
落来，妹妹住过这几日，倒安稳。”凤姐笑说：“不用，那边也离不得我，倒是天天来的好。”贾珍说：“也罢，也罢。”然后又说了一回闲话，方才出去。&lt;br /&gt;
    &lt;br /&gt;
一时女眷散后，王夫人因问凤姐：“你今儿怎么样？”凤姐道：“太太只管请&lt;br /&gt;
回去；我须得先理出一个头绪来才回得去呢。”王夫人听说，便先同邢夫人回去，&lt;br /&gt;
不在话下。&lt;br /&gt;
    &lt;br /&gt;
这里凤姐来至三间一所抱厦内坐了，因想：头一件是人口混杂，遗失东西；&lt;br /&gt;
二件，事无专管，临期推委；三件，需用过费，滥支冒领；四件，任无大小，苦乐不均；五件，家人豪纵，有脸者不能服钤束，无脸者不能上进。此五件实是宁府中风俗。不知凤姐如何处治，且听下回分解。&lt;br /&gt;
Jia Zhen took the Ning Mansion tally from his sleeve and asked Baoyu to hand it to her. “You will have a free hand, cousin,” he promised. “Just use this to requisition whatever, you want, there’s no need to consult me. I’ve only two requests to make. First, please don’t try to spare me expense, as I want everything done handsomely. And secondly, treat the servants here as you would your own, don’t be afraid they may resent it. Apart from these two provisos, nothing else worries me.” Xifeng did not venture to take the tally but glanced at Lady Wang. “Do as your cousin asks,” said Lady Wang. “But don’t take too much upon yourself. If there are any decisions to make, send to ask him and your sister-in-law what should be done.” Baoyu had already taken the tally from Jia Then and forced it on Xifeng. “Would you prefer to stay here or to come over every day?” Jia Zhen asked her. “Coming over every day might be rather tiring. Why not let me clear out an apartment for you to stay in. Wouldn’t that save you trouble?” “There’s no need,” replied Xifeng gaily. “They can’t do without me over there. I’ll come every day.” Jia Zhen did not insist but left them after a little further chat. As soon as the visitors had gone Lady Wang asked Xifeng what she proposed to do now. “Please don’t wait for me, madam. I must sort things out before I come home.” So Lady Wang left first with Lady Xing, while Xifeng retired to a small three-roomed annex to reflect as follows:  First, this household is such a mixed one that things may get lost; Secondly, unless duties are assigned the servants may shirk work; Thirdly, the heavy expenditure may lead to extravagance and faked receipts; Fourthly, if no distinction is made between large tasks and small ones, some will have a harder time than others; Fifthly, these servants are so out of hand that those with any pretensions may defy me, and those with none won’t do their best. These were indeed the’ five distinguishing features of the Ning Mansion. To know how Xifeng coped, read the following chapter. --[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:03, 9 June 2021 (UTC)&lt;br /&gt;
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“You will have a free hand, cousin,” he promised. “Just use this to requisition whatever, you want, there’s no need to consult me. I’ve only two requests to make. First, please don’t try to spare me expense, as I want everything done handsomely. And secondly, treat the servants here as you would your own, don’t be afraid they may resent it. Apart from these two provisos, nothing else worries me.” “Do as your cousin asks,” said Lady Wang. “But don’t take too much upon yourself. If there are any decisions to make, send to ask him and your sister-in-law what should be done.” “Would you prefer to stay here or to come over every day?” Cousin Zhen asked her. “Coming over every day might be rather tiring. Why not let me clear out an apartment for you to stay in. Wouldn’t that save you trouble?” “There’s no need,” replied Sister Phoenix gaily. “They can’t do without me over there. I’ll come every day.” Cousin Zhen did not insist but left them after a little further chat. As soon as the visitors had gone Lady Wang asked Sister Phoenix what she proposed to do now. “Please don’t wait for me, madam. I must sort things out before I come home.” So Lady Wang left first with Lady Xing, while Sister Phoenix retired to a small three-roomed annex to reflect as follows:  First, this household is such a mixed one that things may get lost; Secondly, unless duties are assigned the servants may shirk work; Thirdly, the heavy expenditure may lead to extravagance and faked receipts;  Fourthly, if no distinction is made between large tasks and small ones, some will have a harder time than others; Fifthly, these servants are so out of hand that those with any pretensions may defy me, and those with none won’t do their best. These were indeed the’ five distinguishing features of the Ning Mansion. To know how Sister Phoenix coped, read the following chapter. —[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 05:25, 21 April 2021 (UTC)&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
◎第十四回 林如海捐馆扬州城  贾宝玉路谒北静王&lt;br /&gt;
    Sea Lin Dies in Dimension Poplar &lt;br /&gt;
Precious Jade Meets the Prince of Beijing on the Rode&lt;br /&gt;
话说宁国府中都总管来升闻知里面委请了凤姐，因传齐同事人等说道：&lt;br /&gt;
“如今请了西府里琏二奶奶管理内事，倘或他来支取东西，或是说话，须要小心&lt;br /&gt;
伺候。每日大家早来晚散，宁可辛苦这一个月，过后再歇息，不要把老脸面丢&lt;br /&gt;
了。那是个有名的烈货，脸酸心硬，一时恼了，不认人的。”众人都道：“有理。”&lt;br /&gt;
又有一个笑道：“论理，我们里面也该得他来整治整治，部忒不像了。”正说着，只见来旺媳妇拿了对牌来领呈文经榜纸札，票上开着数目。众人连忙让坐倒茶，&lt;br /&gt;
一面命人按数取纸；来旺抱着同来旺媳妇一路来至仪门，方交与来旺媳妇自己&lt;br /&gt;
抱进去了。&lt;br /&gt;
    &lt;br /&gt;
凤姐即命彩明定造册簿；即时传了来升媳妇，要家口花名册查看；又限明&lt;br /&gt;
日一早传齐家人媳妇进府听差。大概点了一点数目单册，问了来升媳妇几句&lt;br /&gt;
话，便坐车回家。&lt;br /&gt;
    &lt;br /&gt;
至次日卯正二刻，便过来了。那宁国府中婆子媳妇闻得到齐，只见凤姐与&lt;br /&gt;
来升媳妇分派众人执事，不敢擅入，在窗外打听。听见凤姐和来升媳妇道：“既&lt;br /&gt;
托了我，我就说不得要讨你们嫌了。我可比不得你们奶奶好性儿，由着你们去。&lt;br /&gt;
再不要说你们‘这府里原是这么样’的话，如今可要依着我行，错我半点儿，管&lt;br /&gt;
不得谁是有脸的，谁是没脸的，一例清白处治。”&lt;br /&gt;
&lt;br /&gt;
Sheng, chief steward of the Ning Mansion, heard the news that Siste Phoenix was to take charge, he summoned all his colleagues and he told them, “Madam Jia Lian of the West Mansion is coming to supervise our household, when she asks for things or gives orders, we must be extra careful. Better turn up earlier and leave later everyday, working hard this month and resting afterwards, in order not to lose face. You know what a tenor she is, sour-faced, hard-hearted and no respecter of persons once she’s angry.” They agreed, and one said with a laugh, “actually we need her to get this place into shape. Things are too out of hand.” Just then Lai Wang’s wife came along with a tally and a receipt for the amount required, to fetch sacrificial paper and paper for supplications and prayers. They made her take a seat and have some tea while someone went for the amount required and carried it for her to the inner gate, where he handed it over to her to take inside.&lt;br /&gt;
Then Sister Phoenix ordered Sunshine to prepare a register and sent for Lai Sheng’s wife to bring her a list of the staff. She announced that all the men-servants’ wives were to come to her early the next morning for instructions. After checking quickly through the list and asking Lai Sheng’s wife some questions, she went home in her carriage.&lt;br /&gt;
She was back at half past six the next morning to find all the old serving women and stewards’ wives assembled. They did not venture into the antechamber when they saw that Sister Phoenix and Lai Sheng’s wife were busy assigning tasks, but from outside the window they heard her tell the latter: “Since I have been put in charge here, I dare say I shall make myself unpopular. I’m not as good-tempered as your own mistress who lets you do what you want to do; So don’t tell me how things used to be managed here, but just do as I command. If you disobeyed my order, I will deal with you publicly, no matter how much face the offender may have.”&lt;br /&gt;
&lt;br /&gt;
Advancement, chief steward of the Ning Mansion, heard the news that Sister Phoenix was to take charge, he summoned all his colleagues and he told them, “Fake Romance of the West Mansion is coming to supervise our household, when she asks for things or gives orders, we must be extra careful. Better turn up earlier and leave later everyday, working hard this month and resting afterwards, in order not to lose face. You know what a tenor she is, sour-faced, hard-hearted and no respecter of persons once she’s angry.” They agreed, and one said with a laugh, “actually we need her to get this place into shape. Things are too out of hand.” Just then Prosperity’s wife came along with a tally and a receipt for the amount required, to fetch sacrificial paper and paper for supplications and prayers. They made her take a seat and have some tea while someone went for the amount required and carried it for her to the inner gate, where he handed it over to her to take inside. Then Sister Phoenix ordered Sunshine to prepare a register and sent for Prosperity’s wife to bring her a list of the staff. She announced that all the men-servants’ wives were to come to her early the next morning for instructions. After checking quickly through the list and asking Prosperity’s wife some questions, she went home in her carriage. She was back at half past six the next morning to find all the old serving women and stewards’ wives assembled. They did not venture into the antechamber when they saw that Sister Phoenix and Prosperity’s wife were busy assigning tasks, but from outside the window they heard her tell the latter: “Since I have been put in charge here, I dare say I shall make myself unpopular. I’m not as good-tempered as your own mistress who lets you do what you want to do; So don’t tell me how things used to be managed here, but just do as I command. If you disobeyed my order, I will deal with you publicly, no matter how much face the offender may have.”—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 05:11, 28 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Advancement, chief steward of the Ning Mansion, heard the news that Sister Phoenix was to take charge, he summoned all his colleagues and he told them, “Fake Romance of the West Mansion is coming to supervise our household, when she asks for things or gives orders, we must be extra careful. Better turn up earlier and leave later everyday, working hard this month and resting afterwards, in order not to lose face. You know what a tenor she is, sour-faced, hard-hearted and no respecter of persons once she’s angry.” They agreed, and one said with a laugh, “actually we need her to get this place into shape. Things are too out of hand.” Just then Prosperity’s wife came along with a tally and a receipt for the amount required, to fetch sacrificial paper and paper for supplications and prayers. They made her take a seat and have some tea while someone went for the amount required and carried it for her to the inner gate, where he handed it over to her to take inside. Then Sister Phoenix ordered Sunshine to prepare a register and sent for Prosperity’s wife to bring her a list of the staff. She announced that all the men-servants’ wives were to come to her early the next morning for instructions. After checking quickly through the list and asking Prosperity’s wife some questions, she went home in her carriage. She was back at half past six the next morning to find all the old serving women and stewards’ wives assembled. They did not venture into the antechamber when they saw that Sister Phoenix and Prosperity’s wife were busy assigning tasks, but from outside the window they heard her tell the latter: “Since I have been put in charge here, I dare say I shall make myself unpopular. I’m not as good-tempered as your own mistress who lets you do what you want to do; So don’t tell me how things used to be managed here, but just do as I command. If you disobeyed my order, I will deal with you publicly, no matter how much face the offender may have.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.You know what a tenor she is, sour-faced, hard-hearted and no respecter of persons once she’s angry.→You know what a tenor she is, sour-faced, hard-hearted and no respecter of people once she’s angry.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:41, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
说罢，便吩咐彩明念花名册，接名一个一个叫进来看视，一时看完，又吩咐&lt;br /&gt;
道：“这二十个分作两班，一班十个，每日在内单管人客来往倒茶，别事不用他们管。这二十个也分作两班，每日单管本家亲戚茶饭，也不管别事。这四十个人&lt;br /&gt;
也分作两班，单在灵前上香添油，挂幔守灵，供饭供茶，随起举哀，也不管别事。&lt;br /&gt;
这四个人专在内荼房收管杯碟茶器，若少了一件，四人分赔。这四个人单管酒&lt;br /&gt;
饭器皿，少一件也是分赔。这八个人单管收祭礼。这八个单管各处灯油、蜡烛、&lt;br /&gt;
纸札，我总支了来，交与你八个人，然后按我的定数再往各处分派。这二十个每&lt;br /&gt;
日轮流各处上夜，照管门户，监察火烛，打扫地方。这下剩的按房分开，某人守&lt;br /&gt;
某处，某处所有桌椅古玩起，至于痰盒掸帚，一草一苗，或丢或坏，就问这看守之人赔补。来升家的每日揽总查看，或有偷懒的，赌钱吃酒打架拌嘴的，立刻来回我。你要徇情，经我查出，三四辈子的老脸，就顾不成了。如今都有了定规，以后那一行乱了，只和那一行说话。素日跟我的人，随身俱有钟表，不论大小事，&lt;br /&gt;
皆有一定时刻，横竖你们上房里也有时辰钟：卯正二刻我来点卯，巳正吃早饭，&lt;br /&gt;
凡有领牌回事的，只在午初二刻。成初烧过黄昏纸，我亲到各处查一遍，回来上&lt;br /&gt;
夜的交明钥匙。第二日仍是卯正二刻过来。说不得咱们大家辛苦这几日罢，事&lt;br /&gt;
完了，你们大爷自然赏你们的。”&lt;br /&gt;
&lt;br /&gt;
Having concluded these remarks， she went on to order Colorful Light to read the roll; and, as their names were uttered, one by one was called in, and passed under inspection. After this inspection, which was got over in a short time, she continued giving further directions. &amp;quot;These twenty，&amp;quot; she said &amp;quot;should be divided into two companies； ten in each company， whose sole daily duties should be to attend inside to the guests， coming and going， and to serve tea for them； while with any other matters， they needn't have anything to do. These other twenty should also be divided into two companies， whose exclusive duties will be， day after day， to look after the tea and eatables of the relatives of our family； and these too will have no business to concern themselves with outside matters. These forty will again be divided into two companies， who will have nothing else to look to than to remain in front of the coffin and offer incense， renew the oil， hang up the streamers， watch the coffin， offer sacrifices of rice， and oblations of tea， and mourn with the mourners； and neither need they mind anything outside these duties. These four servants will be specially attached to the inner tea-rooms to look after cups， saucers and the tea articles generally； and in the event of the loss of any single thing， the four of them will have to make it good between them. These other four servants will have the sole charge of the articles required for eatables and wine； and should any get mislaid compensation will have likewise to be made by them. These eight servants will only have to attend to taking over the sacrificial offerings； while these eight will have nothing more to see to beyond keeping an eye over the lamps， oil， candles and paper wanted everywhere. I'll have a whole supply served out and handed to you eight to by and by apportion to the various places， in quantities which I will determine. These thirty servants are each day， by rotation， to keep watch everywhere during the night， looking after the gates and windows， taking care of the fires and candles， and sweeping the grounds； while the servants， who remain， are to be divided for duty in the houses and rooms， each one having charge of a particular spot. And beginning from the tables， chairs and curios in each place， up to the very cuspidors and brooms， yea even to each blade of grass or sprout of herb， which may be there， the servants looking after this part will be called upon to make good anything that may be either mislaid or damaged. You， Lai Sheng's wife， will every day have to exercise general supervision and inspection； and should there be those who be lazy， any who may gamble， drink， fight or wrangle， come at once and report the matter to me； and you mustn't show any leniency， for if I come to find it out， I shall have no regard to the good old name of three or four generations， which you may enjoy. You now all have your fixed duties， so that whatever batch of you after this acts contrary to these orders， I shall simply have something to say to that batch and to no one else. The servants， who have all along been in my service， carry watches on their persons， and things， whether large or small， are invariably done at a fixed time. But， in any case， you also have clocks in your master's rooms， so that at 6.30， I shall come and read the roll， and at ten you'll have breakfast. Whenever there is any indent of any permits to be made or any report to be submitted， it should be done at 11.30 a.m. and no later. At 7 p.m.， after the evening paper has been burnt， I shall come to each place in person to hold an inspection； and on my return， the servants on watch for the night will hand over the keys. The next day， I shall again come over at 6.30 in the morning； and needless to say we must all do the best we can for these few days； and when the work has been finished your master is sure to recompense you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Having concluded these remarks， she went on to order Colorful Light to read the roll; and, as their names were uttered, one by one was called in, and passed under inspection. After this inspection, which was got over in a short time, she continued giving further directions. &amp;quot;These twenty，&amp;quot; she said &amp;quot;should be divided into two companies； ten in each company， whose sole daily duties should be to attend inside to the guests， coming and going， and to serve tea for them； while with any other matters， they needn't have anything to do. These other twenty should also be divided into two companies， whose exclusive duties will be， day after day， to look after the tea and meals of the relatives of our family； and these too will have no business to concern themselves with outside matters. These forty will again be divided into two companies， who will have nothing else to look to than to remain in front of the coffin and offer incense， renew the oil， hang up the streamers， watch the coffin， offer sacrifices of rice， and oblations of tea， and mourn with the mourners； and neither need they mind anything outside these duties. These four servants will be specially attached to the inner tea-rooms to look after cups， saucers and the tea articles generally； and in the event of the loss of any single thing， the four of them will have to make it good between them. These other four servants will have the sole charge of the articles required for eatables and wine； and should any get mislaid compensation will have likewise to be made by them. These eight servants will only have to attend to taking over the sacrificial offerings； while these eight will have nothing more to see to beyond keeping an eye over the lamps， oil， candles and paper wanted everywhere. I'll have a whole supply served out and handed to you eight to by and by apportion to the various places， in quantities which I will determine. These thirty servants are each day， by rotation， to keep watch everywhere during the night， looking after the gates and windows， taking care of the fires and candles， and sweeping the grounds； while the servants， who remain， are to be divided for duty in the houses and rooms， each one having charge of a particular spot. And beginning from the tables， chairs and curios in each place， up to the very cuspidors and brooms， yea even to each blade of grass or sprout of herb， which may be there， the servants looking after this part will be called upon to make good anything that may be either mislaid or damaged. You， Lai Sheng's wife， will every day have to exercise general supervision and inspection； and should there be those who be lazy， any who may gamble， drink， fight or wrangle， come at once and report the matter to me； and you mustn't show any leniency， for if I come to find it out， I shall have no regard to the good old name of three or four generations， which you may enjoy. You now all have your fixed duties， so that whatever batch of you after this acts contrary to these orders， I shall simply have something to say to that batch and to no one else. The servants， who have all along been in my service， carry watches on their persons， and things， whether large or small， are invariably done at a fixed time. But， in any case， you also have clocks in your master's rooms， so that at 6.30， I shall come and read the roll， and at ten you'll have breakfast. Whenever there is any indent of any permits to be made or any report to be submitted， it should be done at 11.30 a.m. and no later. At 7 p.m.， after the evening paper has been burnt， I shall come to each place in person to hold an inspection； and on my return， the servants on watch for the night will hand over the keys. The next day， I shall again come over at 6.30 in the morning； and needless to say we must all do the best we can for these few days； and when the work has been finished your master is sure to recompense you.&amp;quot;--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 16:05, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
说毕，又吩咐按数发与茶叶、油烛、鸡毛掸子、笤帚等物，一面又搬取家伙：&lt;br /&gt;
桌围、椅搭、坐褥，毡席、痰盒、脚踏之类，一面交发，一面提笔登记，某人管某处，某人领物件，开得十分清楚。众人领了去，也都有了投奔，不似先时只拣便宜的做，剩下苦差没个招揽。各房中也不能趁乱迷失东西。便是人来客往，也都安静了，不比先前紊乱无头绪，一切偷安窃取等弊，一概都蠲了。&lt;br /&gt;
    &lt;br /&gt;
凤姐自己威重令行．心中十分得意。因见尤氏犯病，贾珍也过于悲哀，不&lt;br /&gt;
大进饮食，自己每日从那府中熬了各样细粥，精美小菜，令人送来劝食。贾珍也&lt;br /&gt;
另外吩咐每日送上等菜到抱厦内，单与凤姐。凤姐不畏勤劳，天天按时刻过来，&lt;br /&gt;
点卯理事，独在抱厦内起坐，不与众妯娌合群，便有眷客来往，也不迎送。&lt;br /&gt;
    &lt;br /&gt;
这日乃五七正五日上，那应佛惜正开方破狱，传灯照亡，参阎君，拘都鬼，延&lt;br /&gt;
请地藏王，开金桥，引幢幡；那道士们正伏章申表，朝三清，叩玉帝，禅僧们行香，放焰口，拜水忏；又有十二众青年尼僧，搭绣衣，靸红鞋，在灵前默诵接引诸咒，十分热闹。&lt;br /&gt;
    &lt;br /&gt;
那凤姐知道今日人客不少，寅正便起来梳洗，及收抬完备，更衣盥手，喝了&lt;br /&gt;
几口奶子，漱口已毕，正是卯正二刻了。来旺媳妇率领众人伺候已久。&lt;br /&gt;
After talking, he ordered the tea leaves, oil candles, feather dusters, brooms and other things to be distributed according to the number, and at the same time he took out the objects: table circumference, chair, sitting mat, felt mat, sputum box, footrest, etc., and handed over at the same time, while holding a pen to register clearly who was in charge of a place, who took an object. Everyone took something, and all of them turned around. It's not like before when they only chose the cheapest, and there was nothing left to recruit, nothing lost in the chaos in each room. Even when people come and go, they are all quiet, no more chaotic and clueless than before, and all the evils such as stealing are all diminished. &lt;br /&gt;
Xi Feng saw her own majesty, feeling very proud. Seeing Ms.You's illness, Zhen Merchant was too sad and eat little. She cooked all kinds of porridge and exquisite side dishes from the house every day, which was sent for persuasion. Zhen Merchant also ordered the delivery of high-quality dishes  every day, only to Lady Feng. Lady Feng was not afraid of industrious work, came on time every day, clicked on the directors, sat up in the holding hall alone, don't gregarious with all the wives,even there will be guests coming and going, they will not be greeted.&lt;br /&gt;
This day is the Thiry-fifth Day after Death, and the Buddha should open the way to break the hell, pass the lamp to the death, visit Yama , arrest the ghost, invite Ksitigarbha, open the golden bridge, and erect the flags; the Taoist priests were on the ground , appealed to the Three Qing Dynasty, knocked on the Jade Emperor, the monks performed incense, let off the flames, and worshipped water; there were also twelve young nuns,&lt;br /&gt;
&lt;br /&gt;
After talking, he figured how to distribute the tea leaves, oil candles, feather dusters, brooms and other things according to the number, and at the same time he asked others to take out the table circumferences, chairs, sitting mats, felt mats, sputum boxes, footrest, etc., and handed over at the same time, deciding and writing down who was in charge of a place and who took an object. Everyone took something, and all of them turned around. It's not like before when they only chose the cheapest, and there was nothing left to recruit, and nothing lost in the chaos in each room. Even when people came and left, they were all quiet, no more chaotic and clueless than before, and all the evils such as stealing were all diminished. Sister Phoenix saw her own majesty, feeling very proud. Knowing the You's illness, Zhen Merchant was so sad that he ate little. She cooked all kinds of porridge and exquisite side dishes in the house every day, which was sent for persuasion. Zhen Merchant also ordered the delivery of high-quality dishes every day, only to Lady Feng. Lady Feng was not afraid of industrious work, came on time every day, clicked on the directors, sat up in the holding hall alone, did not get together with all the maids. There would be guests coming and leaving, they would not be greeted. This day was the Thiry-fifth Day after Death, and the Buddha should open the way to break the hell, pass the lamp to the death, visit Yama, arrest the ghost, invite Ksitigarbha, open the golden bridge, and erect the flags; the Taoist priests were on the ground, appealing to the Three Qing Dynasty, knocked on the Jade Emperor, the monks performed incense, let off the flames, and worshipped water; there were also twelve young nuns,----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
After talking, he figured how to distribute the tea leaves, oil candles, feather dusters, brooms and other things according to the number, and at the same time he asked others to take out the table circumferences, chairs, sitting mats, felt mats, sputum boxes, footrest, etc., and handed over at the same time, deciding and writing down who was in charge of a place and who took an object. Everyone took something, and all of them turned around. It's not like before when they only chose the cheapest, and there was nothing left to recruit, and nothing lost in the chaos in each room. Even when people came and left, they were all quiet, no more chaotic and clueless than before, and all the evils such as stealing were all diminished. Sister Phoenix saw her own majesty, feeling very proud. Knowing Madam Outstanding’s illness, Treasure Merchant was so sad that he ate little. She cooked all kinds of porridge and exquisite side dishes in the house every day, which was sent for persuasion. Treasure Merchant also ordered the delivery of high-quality dishes every day, only to Phoenix. Phoenix was not afraid of industrious work, came on time every day, clicked on the directors, sat up in the holding hall alone, did not get together with all the maids. There would be guests coming and leaving, they would not be greeted. This day was the Thiry-fifth Day after Death, and the Buddha should open the way to break the hell, pass the lamp to the death, visit Yama, arrest the ghost, invite Ksitigarbha, open the golden bridge, and erect the flags; the Taoist priests were on the ground, appealing to the Three Qing Dynasty, knocked on the Jade Emperor, the monks performed incense, let off the flames, and worshipped water; there were also twelve young nuns wearing embroidered clothes and red shoes, who read silently in front of the supernatural spirit. What an exciting scene. Sister Phoenix knew there were many guests today, so she got up at 4 o’clock , cleaned herself and drank some milk.  After that, it was half past six. Her servant, Prosperity’s Wife, had waited for a long time with other servants.&lt;br /&gt;
--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 07:33, 27 April 2021 (UTC)&lt;br /&gt;
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=Yì Míngxiá  易明霞=&lt;br /&gt;
凤姐出至厅前，上了车，前面一对明角灯，上写“荣国府”三个大字。来至宁府大门首，门灯朗挂，两边一色矗灯，照如白昼，白汪汪穿孝家人两行侍立。请车至正门上，小厮退去，众媳妇上来揭起车帘。凤姐下了车，一手扶着丰儿，两个媳妇执着手把灯照着，撮拥凤姐进来。宁府诸媳妇迎着请安。风姐款步入会芳园中登仙閣灵前，一见棺材，那眼泪恰似断线之珠，滚将下来。院中多少小厮垂手侍立，伺候烧纸。凤姐吩咐一声：“供茶烧纸。”只听一棒锣鸣，诸乐齐奏，早有人端过一张大圈椅来，放在灵前，凤姐坐了放声大哭，于是里外上下男女都接声嚎哭。&lt;br /&gt;
    &lt;br /&gt;
一时贾珍、尤氏令人劝止，凤姐方止住。来旺媳妇倒茶濑口毕，凤姐方起&lt;br /&gt;
身，别了族中诸人，自人抱厦来，接名查点，各项人数，俱已到齐，只有迎送亲客上的一人未到，即令传来。那人惶恐，凤姐冷笑道：“原来是你误了！你比他们有体面，所以不听我的话。”那人回道：“小的天天都来的早，只有今儿来迟了一步，求奶奶饶过初次。”正说着，只见荣国府中的王兴媳妇来了，在前探头。凤姐且不发放这人，却问：“王兴媳妇来作什么？”王兴媳妇近前说：“领牌取线，打车轿网络。”说着将个帖儿递上去，&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix went out of the hall and got on the carriage in front of which had a couple of claw lamps with Thriving Country Mansion written on it. There were door lamps hanging on both sides of the Peace mansion’s main door, lighting up the darkness. When they arrived at the outside of the Peace mansion, the families clad in white stood on both sides of the door. Sister Feng was invited to enter the mansion through the main door. After the servants went away, the housemaids helped lift the curtain of the carriage. Then, Sister Phoenix got off with one hand holding the door and on hand holding the maid, Little Feng. She entered the mansion with a swarm of maids and two maids lighting the road in front of her. The maids of the Peace mansion came and greeted Sister Phoenix. Sister Phoenix marched in the Flagrant yard and stood in the front of the Immortal hall. Tears burst out as she saw the coffin. Lots of servants stood on the yard, waiting for order and burning the hell money. Sister Feng commanded, “Serve the tea and burn the hell money.” After a loud strike of the gong, the symphony for the dead began. At the same time, Sister Feng sat in a big chair which had been placed in the front of the mourning hall in advance cried out loudly. Then, all of the people there all cried out of breath. &lt;br /&gt;
It was not until Treasure Merchant and the You asked people to persuade her to stop crying that did Sister Phoenix no longer cry. After being served tea by the Lai Wang’s maids and cleared her mouth, Sister Phoenix got up and said goodbye to the families. Then, she went to a special hall and checked the attendance of the people. Then, she found all the people had arrived except for a servant who was at the position of greeting and sending guests. Then, she asked someone to tell him that he should come here right now. That person was frightened. And Sister Phoenix sniffed and said, “It turned out that you were the one who got late. It seems that you are more decent than others so that you can disobey my orders.” The people replied, “Every day, I came here very early, except for today. I hope that you could forgive me for my first-time making mistake.” As the on was explaining, the maid Wang Xing came, watching from the door. Sister Phoenix did not allow her to come in and asked her, “What do you want to do?” The maid came near and said, “I came here to get the sign to withdraw the money for procurement.” Then, she gave the letter to her.&lt;br /&gt;
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Sister Phoenix went out of the hall and got on the carriage, in front of which had a couple of claw lamps with Thriving Country Mansion written on it. There were lamps hanging on both sides of the Peace mansion’s main door, lighting up the darkness. When they arrived at the outside of the Peace mansion, the families clad in white stood on both sides of the door. Sister Feng was invited to enter the mansion through the main door. After the servants went away, the housemaids helped lift the curtain of the carriage. Then, Sister Phoenix got off with one hand holding the door and the other hand holding the maid, Little Feng. She entered the mansion with a swarm of maids, two maids lighting the road in front of her. The maids of the Peace mansion came and greeted Sister Phoenix. Sister Phoenix marched in the Flagrant yard and stood in the front of the Immortal hall. Tears burst out as she saw the coffin. Lots of servants stood on the yard, waiting for order and burning the hell money. Sister Feng commanded, “Serve the tea and burn the hell money.” After a loud strike of the gong, the symphony for the dead began. At the same time, Sister Feng sat in a big chair which had been placed in the front of the mourning hall in advance cried out loudly. Then, all of the people there all cried out of breath. It was not until Treasure Merchant and the You asked people to persuade her to stop crying that did Sister Phoenix no longer cry. After being served tea by the Lai Wang’s maids and cleared her mouth, Sister Phoenix got up and said goodbye to the families. Then, she went to a special hall and checked the attendance of the people. Then, she found all the people had arrived except for a servant who was at the position of greeting and sending guests. Then, she asked someone to tell him that he should come here right now. That person was frightened. And Sister Phoenix sniffed and said, “It turned out that you were the one who got late. It seems that you are more decent than others so that you can disobey my orders.”The people replied, “Every day, I came here very early, except for today. I hope that you could forgive me for my first mistake.” As he was explaining, the maid Rising King came and watched from the door. Sister Phoenix did not allow her to come in and asked her, “What do you want to do?” The maid came near and said, “I came here to get the sign to withdraw the money for procurement.” Then, she gave the letter to her.--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 06:26, 21 April 2021 (UTC)&lt;br /&gt;
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Sister Phoenix went out of the hall and got on the carriage in front of which had a couple of claw lamps with Thriving Country Mansion written on it. There were door lamps hanging on both sides of the Peace mansion’s main door, lighting up the darkness. When they arrived at the outside of the Peace mansion, the families clad in white stood on both sides of the door. Sister Feng was invited to enter the mansion through the main door. After the servants went away, the housemaids helped lift the curtain of the carriage. Then, Sister Phoenix got off with one hand holding the door and on hand holding the maid, Little Feng. She entered the mansion with a swarm of maids and two maids lighting the road in front of her. The maids of the Peace mansion came and greeted Sister Phoenix. Sister Phoenix marched in the Flagrant yard and stood in the front of the Immortal hall. Tears burst out as she saw the coffin. Lots of servants stood on the yard, waiting for order and burning the hell money. Sister Feng commanded, “Serve the tea and burn the hell money.” After a loud strike of the gong, the symphony for the dead began. At the same time, Sister Phoenix sat in a big chair which had been placed in the front of the mourning hall in advance cried out loudly. Then, all of the people there all cried out of breath. It was not until Treasure Merchant and the You asked people to persuade her to stop crying that did Sister Phoenix no longer cry. After being served tea by the maid, Prosperity, and cleared her mouth, Sister Phoenix got up and said goodbye to the families. Then, she went to a special hall and checked the attendance of the people. Then, she found all the people had arrived except for a servant who was at the position of greeting and sending guests. Then, she asked someone to tell him that he should come here right now. That person was frightened. And Sister Phoenix sniffed and said, “It turned out that you were the one who got late. It seems that you are more decent than others so that you can disobey my orders.” The people replied, “Every day, I came here very early, except for today. I hope that you could forgive me for my first-time making mistake.” As the on was explaining, the maid Rising King came, watching from the door. Sister Phoenix did not allow her to come in and asked her, “What do you want to do?” The maid came near and said, “I came here to get the sign to withdraw the money for procurement.” Then, she gave the letter to her.----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
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=Yuán Jìng 袁静=&lt;br /&gt;
凤姐令彩明念道：“大轿两顶，小轿四顶，车四辆，共用大小络子若干根，每根用珠儿线若干斤。”凤姐听了数目相合，便命彩明登记，取荣国对牌掷下。王兴家的去了。&lt;br /&gt;
    &lt;br /&gt;
凤姐方欲说话，只见荣国府的四个执事人进来，都是要支取东西领牌的，凤姐命他们要了帖念过，听了一共四件，因指两件道：“这个开销错了，再算清了来领。”说着将帖子掷下。那二人扫兴而去。&lt;br /&gt;
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凤姐因见张材家的在旁，因问：“你有什么事？”张材家的忙取帖子回道：&lt;br /&gt;
“就是方才车轿围做成，领取裁缝工银若干两。”凤姐听了，收了帖子，命彩明登记。待王兴交过，得了买办的回押相符，然后与张材家的去领。一面又命念那&lt;br /&gt;
一件，是为宝玉外书房完峻，支领买纸料糊裱。凤姐听了．即命收帖儿登记，待&lt;br /&gt;
张材家的缴清再发。&lt;br /&gt;
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凤姐便说道：“明儿他也来迟了，后儿我也来迟了，将来都没有人了。本来&lt;br /&gt;
要饶你，只是我头一次宽了，下次就难管别人了，不如开发的好。”登时放下睑&lt;br /&gt;
来，命带出去打二十板子，众人见凤姐--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:27, 18 April 2021 (UTC)动怒，不敢怠慢，拉出去照数打了，进来回复；凤姐又掷下宁府对牌：“说与来升革他一月银米。”吩咐：“散了罢。”众人方各自办事去了。那时被打之人亦含羞饮泣而去。彼时荣宁两处领牌交牌人往来不绝，凤姐又一一开发了。&lt;br /&gt;
Sister Phoenix ordered Colorful Light to read out the number of strings of beads and tassels. She said, “It needs two palanquin and four sedan-chairs as well as four carriages. Finding the figures correct, Sister Phoenix told Colorful Light to register them and and gave a Rong Mansion tally to Wang Xing's wife, who left then. Before Sister Phoenix could say something there came four stewards from the Rong Mansion with intents for stores. Sister Phoenix had their orders read out and pointed at two of the four items. &amp;quot;These figures are wrong. Come back when you have worked them out correctly. &amp;quot;The two stewards whose intents she tossed back withdrew very sheepishly. Then she noticed Zhang Material's wife and asked her business. The woman handed her an order form, saying, &amp;quot;The covers for the carriages and Sedan-chairs are finished, and I have come for the money for the tailor. &amp;quot; King Phoenix told Colorful Light to enter this, and when Wang prosperity's wife had returned the tally and fetched the accountant's receipt for the right sum Zhang Material's wife was sent to get the money. Another order for wall-paper to paper Precious Jade's outer study was read out and registered. After Zhang Material's wife has finished her business and returned the tally, the other was sent with it to get Wall-paper. Then she said, &amp;quot;If you are late today and I'm late tomorrow, there will soon be nobody here. I should have liked to let you off, but if I overlook the first offence, the others will get out of hand. I shall be obliged to make an example of you. &amp;quot; With a stern look, she ordered the woman to be taken out and given twenty strokes with bamboo. She then threw down the Ning Mansion tally and gave orders that Advancement should dock this usher of a month's wages. When the others heard this and saw Sister Phoenix's angry frown, they dared not show slackness in carrying out her orders. Some hastily dragged out the woman; others passed on the order to Lai Sheng. After the usher had been given twenty strokes she had to turn to kowtow to Sister Phoenix. Then she dismissed the servants. After a while, a steady stream of domestics from both mansions kept coming to hand in or apply for intents, while the woman who had been beaten left shamefully. --[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 04:22, 18 April 2021 (UTC)&lt;br /&gt;
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Sister Phoenix ordered Colorful Light to read out the number of strings of beads and tassels. She said, “It needs two palanquin and four sedan-chairs as well as four carriages. Finding the figures correct, Sister Phoenix told Colorful Light to register them and and gave a Rong Mansion tally to Wang Xing's wife, who left then. Before Sister Phoenix could say something there came four stewards from the Rong Mansion with intents for stores. Sister Phoenix had their orders read out and pointed at two of the four items. &amp;quot;These figures are wrong. Come back when you have worked them out correctly. &amp;quot;The two stewards whose intents she tossed back withdrew very sheepishly. Then she noticed Zhang Cai's wife and asked her business. The woman handed her an order form, saying, &amp;quot;The covers for the carriages and Sedan-chairs are finished, and I have come for the money for the tailor. &amp;quot; King Phoenix told Colorful Light to enter this, and when Wang Xing's wife returned the tally and fetched the accountant's receipt for the right sum Zhang Cai's wife was sent to get the money. Another order for wall-paper to paper Precious Jade's outer study was read out and registered. After Zhang Cai's wife has finished her business and returned the tally, the other was sent with it to get Wall-paper. Then she said, &amp;quot;If you are late today and I'm late tomorrow, there will soon be nobody here. I should have liked to let you off, but if I overlook the first offence, the others will get out of hand. I shall be obliged to make an example of you. &amp;quot; With a stern look, she ordered the woman to be taken out and given twenty strokes by bamboo. She then threw down the Ning Mansion tally and gave orders that Lai Sheng should dock this usher of a month's wages. When others heard this and saw Sister Phoenix's angry frown, they dared not show slackness in carrying out her orders. Some hastily dragged out the woman; others passed on the order to Lai Sheng. After the usher had been given twenty strokes she had to turn to kowtow towards Sister Phoenix. Then she dismissed the servants. After a while, a steady stream of domestics from both mansions kept coming to hand in or apply for intents, while the woman who had been beaten left shamefully.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:27, 18 April 2021 (UTC)&lt;br /&gt;
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=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
于是宁府中人才知凤姐利害，自此各兢兢业业，不敢偷安，不在话下。&lt;br /&gt;
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如今且说宝玉，因见人众，恐秦钟受了委曲，遂同他往凤姐处坐坐，凤姐正&lt;br /&gt;
吃饭，见他们来了，笑道：“好长腿子，快上来罢。”宝玉道：“我们偏了。”凤姐道：“在这边外头吃的，还是那边吃的？”宝玉道：“同那些浑人吃什么！原是那边，我还同老太太吃了来的。”说著，一面归坐。&lt;br /&gt;
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凤姐饭毕，就有宁府一个媳妇来领牌，为支取香灯，凤姐笑道：“我算着你&lt;br /&gt;
今儿该来支取，想是忘了。要终久忘了，自然是你包出来，都便宜了我。”那媳妇笑道：“何尝不是忘了，方才想起来，再迟一步，也领不成了。”说毕，领牌而去。&lt;br /&gt;
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一时登记变牌。秦钟因笑道：“你们两府里都是这牌，倘别人私造一个，支&lt;br /&gt;
了银子去，怎样？”凤姐笑道：“依你说，都没王法了。”宝玉因道：“怎么咱们家没人来领牌子支东西？”凤姐道：“他们来领的时候，你还做梦呢。我且问你，你们多早晚才念夜书呢？”宝玉道：“巴不得今日就念才好，只是他们不快给收拾出书房，也是没法。”凤姐笑道：“你请我一请，包管就快了。”宝玉道：“你也不中用，他们该做到那里的时候，自然有了。”凤姐道：“就是他们做也得要东西，搁不住我不给对牌，是难的。”&lt;br /&gt;
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Then those who belonged to Ning Mansion knew Sister Phoenix's fierceness. They did their own work and did not dare to be lazy, of course.&lt;br /&gt;
Now Precious Jade met them, being afraid that Qin Zhong may suffer wrong, and sat towards Sister Phoenix with him. Sister Phoenix was eating and saw them, &amp;quot;How fast you are! Come here.&amp;quot; Precious Jade said, &amp;quot;Our way is slanting. &amp;quot; Sister Phoenix said, &amp;quot;Where did you eat, out of here or there?&amp;quot; Precious Jade said, &amp;quot;Why should we eat with those bastards? I ate with an old woman there.&amp;quot; With his words, he sat down.&lt;br /&gt;
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After eating, there is a woman in Ning Mansion to get a plate for drawing a  Fragrance lighting. Sister Phoenix smiled, &amp;quot;I consider that you will come to draw it today, and you may forget it. If you forget it forever, then I take advantage of you.&amp;quot; The woman smiled, &amp;quot;I do forget, but I just recall it. If I come here later, I think I can not get it, too. &amp;quot;  She went away after saying the words.&lt;br /&gt;
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When they registered the plate, Qin Zhong smiled, &amp;quot;Both your plates are like this. If someone makes it on his own, he takes the money away. How about that?&amp;quot; Sister Phoenix said, &amp;quot;If it is that, there is no rules.&amp;quot; Precious Jade said, &amp;quot;Why do not our servants come to get something?&amp;quot; Sister Phoenix replied, &amp;quot;When they are here, you are still dreaming. Well, I ask you one thing. When will you start to study?&amp;quot; Precious Jade said, &amp;quot;I would like to start today. But they have not cleared up the schoolroom. That's the problem.&amp;quot; Sister Phoenix said, &amp;quot;You can ask me for help. It will be down as soon as possible.&amp;quot; Precious Jade said, &amp;quot;You can not do that, too. When they finished their things, it will be down naturally.&amp;quot; Sister Phoenix said, &amp;quot;It is that they should do things with right plate. It will be difficult with wrong plate.&amp;quot;--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:21, 18 April 2021 (UTC)&lt;br /&gt;
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Then those who belonged to Peace Mansion knew Sister Phoenix's fierceness. They did their own work and did not dare to be lazy, of course.&lt;br /&gt;
Now Precious Jade met them, being afraid that Frivolity Bell may suffer wrong, and sat towards Sister Phoenix with him. Sister Phoenix was eating and saw them, &amp;quot;How fast you are! Come here.&amp;quot; Precious Jade said, &amp;quot;Our way is slanting. &amp;quot; Sister Phoenix said, &amp;quot;Where did you eat, out of here or there?&amp;quot; Precious Jade said, &amp;quot;Why should we eat with those bastards? I ate with an old woman there.&amp;quot; With his words, he sat down.&lt;br /&gt;
&lt;br /&gt;
After eating, there is a woman in Peace Mansion to get a plate for drawing a  Fragrance lighting. Sister Phoenix smiled, &amp;quot;I consider that you will come to draw it today, and you may forget it. If you forget it forever, then I take advantage of you.&amp;quot; The woman smiled, &amp;quot;I do forget, but I just recall it. If I come here later, I think I can not get it, too. &amp;quot;  She went away after saying the words.&lt;br /&gt;
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When they registered the plate, Frivolity Bell smiled, &amp;quot;Both your plates are like this. If someone makes it on his own, he takes the money away. How about that?&amp;quot; Sister Phoenix said, &amp;quot;If it is that, there is no rules.&amp;quot; Precious Jade said, &amp;quot;Why do not our servants come to get something?&amp;quot; Sister Phoenix replied, &amp;quot;When they are here, you are still dreaming. Well, I ask you one thing. When will you start to study?&amp;quot; Precious Jade said, &amp;quot;I would like to start today. But they have not cleared up the schoolroom. That's the problem.&amp;quot; Sister Phoenix said, &amp;quot;You can ask me for help. It will be down as soon as possible.&amp;quot; Precious Jade said, &amp;quot;You can not do that, too. When they finished their things, it will be down naturally.&amp;quot; Sister Phoenix said, &amp;quot;It is that they should do things with right plate. It will be difficult with wrong plate.&amp;quot;--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 13:45, 26 April 2021 (UTC)&lt;br /&gt;
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=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
宝玉听说，便猴向凤姐身上立刻要牌，说：“好姐姐，给他们牌，好支东西去收拾。”凤姐道：“我乏的身上生疼，还搁的住你这揉搓？你放心罢，今儿才领了裱糊纸去了，他们该要的还等叫去呢，可不傻了？”宝玉不信，凤姐便叫彩明查册子与宝玉看了。&lt;br /&gt;
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正闹着，人来回：“苏州去的昭儿来了。”凤姐急命唤进来。昭儿打千儿请&lt;br /&gt;
安。凤姐便问：“回来做什么的？”昭儿道：“二爷打发回来的。林姑老爷是九月初三巳时没的。二爷带了林姑娘同送林姑爷的灵到苏州，大约赶年底就回来。&lt;br /&gt;
二爷打发小的来报个信请安，讨老太太示下。还瞧瞧奶奶家里好，叫把大毛衣&lt;br /&gt;
服带几件去。”凤姐道：“你见过别人了没有？”昭儿道：“都见过了。”说毕，连忙退出。凤姐向宝玉笑道：“你林妹妹可在咱们家住长了。”宝玉道：“了不得，想来这几日他不知哭的怎样呢。”说着蹙眉长叹。&lt;br /&gt;
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凤姐见昭儿回来，因当着人不及细问贾琏，心中自是记挂，待要回去，奈事&lt;br /&gt;
未了毕，少不得耐到晚上回来，复令昭儿进来，细问一路平安信息。连夜打点大&lt;br /&gt;
毛衣服，和平儿亲自检点包囊，再细细追想所需何物，一并包裹交付昭儿。又细&lt;br /&gt;
细吩咐昭儿：“在外好生小心伏侍，不要惹你二爷生气。时时劝他少吃酒，别勾&lt;br /&gt;
引他认得混账女人，———回来打折你的腿！”&lt;br /&gt;
Precious Jade cuddled up to her at that and coaxed, &amp;quot;Dear cousin, do give them the tally so that they can get what they need.&amp;quot; “I'm so tired, my bones are aching,” protested Sister Phoenix. “Must you jostle me like that? Don’t worry, they’ve just taken the wall-paper for your study. You must be crazy if you think they need telling when to ask.&amp;quot; When Precious Jade refused to believe this she made Caiming show him the record. Just then someone announced that Zhaoer was back from Suzhou and Sister Phoenix promptly ordered him to be brought in. Zhaoer fell on one knee to greet her. “Why have you come back?&amp;quot; she asked. “The master sent me, madam. Lord Lin died on the third of the ninth month, at nine in the morning. The master and Miss Lin are escorting his coffin to Suzhou and should be home about the end of the year. He sent me to bring the news with his greetings and to ask for the old lady’s instructions. I was to see, too, if you were well at home, madam, and to take back some of his fur-lined gowns.&amp;quot; “Have you reported to the other ladies?&amp;quot; &amp;quot;Yes, madam. Everyone.&amp;quot; With that he withdrew. Sister Phoenix turned to Precious Jade with a smile. &amp;quot;Now your cousin Daiyu can stay with us a good long time.&amp;quot; &amp;quot;Poor thing!&amp;quot; exclaimed Precious Jade. “Think how much she must have been crying the last few days.&amp;quot; He knit his brows and sighed. Sister Phoenix was anxious for news of her husband but had not liked to question Zhaoer too closely in the presence of others. Tempted to go home but kept by unfinished business and afraid of making herself look ridiculous, she had to restrain her impatience until the evening, when she summoned Zhaoer to give her all the particulars of their journey. That same night she got Pinger to help her select some fur-lined clothes and carefully thought out what else her husband might need. Having packed these things together she handed them to Zhaoer and cautioned him: “Mind you look after your master properly outside and don't make him angry. Try to keep him from drinking too much, and don’t pander to him by finding him loose women-if you do, I’ll break your legs when you get back.&amp;quot;&lt;br /&gt;
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Precious Jade cuddled up to her at that and coaxed, &amp;quot;Dear cousin, do give them the tally so that they can get what they need.&amp;quot; “I'm so tired, my bones are aching,” protested Sister Phoenix. “Must you jostle me like that? Don’t worry, they’ve just taken the wall-paper for your study. You must be crazy if you think they need telling when to ask.&amp;quot; When Precious Jade refused to believe this she made Colorful Light show him the record. Just then someone announced that Lucency was back from Suzhou and Sister Phoenix promptly ordered him to be brought in. Lucency fell on one knee to greet her. “Why have you come back?&amp;quot; she asked. “The master sent me, madam. Master Forest died on the third of the ninth month, at nine in the morning. The brother of Master Forest and Miss Forest are escorting his coffin to Suzhou and should be home about the end of the year. He sent me to bring the news with his greetings and to ask for Grandma Merchant’s instructions. I was to see, too, if you were well at home, madam, and to take back some of his fur-lined gowns.&amp;quot; “Have you reported to the other ladies?&amp;quot; &amp;quot;Yes, madam. Everyone.&amp;quot; With that he withdrew. Sister Phoenix turned to Precious Jade with a smile. &amp;quot;Now your cousin Mascara Jade can stay with us a good long time.&amp;quot; &amp;quot;Poor thing!&amp;quot; exclaimed Precious Jade. “Think how much she must have been crying the last few days.&amp;quot; He knit his brows and sighed. Sister Phoenix was anxious for news of her husband but had not liked to question Lucency too closely in the presence of others. Tempted to go home but kept by unfinished business and afraid of making herself look ridiculous, she had to restrain her impatience until the evening, when she summoned Lucency to give her all the particulars of their journey. That same night she got Pinger to help her select some fur-lined clothes and carefully thought out what else her husband might need. Having packed these things together she handed them to Patience and cautioned him: “Mind you look after your master properly outside and don't make him angry. Try to keep him from drinking too much, and don’t pander to him by finding him loose women-if you do, I’ll break your legs when you get back.&amp;quot;--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 07:35, 4 June 2021 (UTC)&lt;br /&gt;
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=Chén Kērǔ  陈柯汝=&lt;br /&gt;
赶乱完了，天已四更，睡下，不觉早又天明，忙梳洗过宁府来。&lt;br /&gt;
    &lt;br /&gt;
那贾珍因见发引日近，亲自坐车带了阴阳司吏，往铁槛寺来踏看寄灵所&lt;br /&gt;
在；又一一嘱咐住持色空好生预备新鲜陈设，多请名憎，以备接灵使用。色空忙&lt;br /&gt;
备晚斋，贾珍也无心茶饭，因天晚不及进城，竟在净室胡乱歇了一夜。次日早，&lt;br /&gt;
便进城来料理出殡之事；一面又派人先往铁槛寺，连夜另外修饰停灵之处，并厨&lt;br /&gt;
茶等项，接灵人口。&lt;br /&gt;
    &lt;br /&gt;
凤姐见发引日期在限，也预先逐细分派料理，一面又派荣府中车轿人从跟&lt;br /&gt;
王夫人送殡，又顾自己送殡去占下处。目今正值缮国公诰命亡故，邢王二夫人&lt;br /&gt;
又去吊祭送殡；西安郡王妃华诞，送寿礼；镇国公诰命生了长男，预备贺礼；又有胞兄王仁连家眷回南，一面写家信禀叩父母并带往之物；又有迎春染疾，每日请医服药，看医生启帖、症源、药案……各事冗杂，亦难尽述。又兼发引在迩，因此忙的凤姐茶饭无心，坐卧不宁。刚到了宁府，荣府的人跟着；既回到荣府，宁府的人又跟着。凤姐虽然如此之忙，只因素性好胜，惟恐落人褒贬，故费尽精神，筹划得十分整齐，于是合族中上下无不称叹。&lt;br /&gt;
    &lt;br /&gt;
这日伴宿之夕，里面两班小戏并耍百戏的，与亲朋等伴宿。尤氏犹卧于内&lt;br /&gt;
室，一切张罗款待，独是凤姐一人周全承应，&lt;br /&gt;
&lt;br /&gt;
After Phoenix Sister finished her business, it was 1’oclock already. She slept for a little while and found it was soon morning again; so she dressed up quickly and arrived at Ning mansion.&lt;br /&gt;
&lt;br /&gt;
The day of the funeral approaching, Cousin Zhen with Yin Yang officials went to Iron Threshold Temple by carriages to check the place where coffin would be buried. He required the abbot No Sex to prepare new instruments needed carefully, and to invite good monks for receiving the coffin.&lt;br /&gt;
No Sex was occupied with supper preparation. Cousin Zhen was not in the mood to eat or drink. As it was late for him to go back home, he slept in a room of the temple casually.&lt;br /&gt;
The next morning, he went back home to deal with relevant things about carrying out the coffin upon burial for which he sent people to repair the place timely where coffin would be placed, and arranged teas as well as assistant people needed in Iron Threshold Temple.&lt;br /&gt;
&lt;br /&gt;
The day of carrying out the coffin upon burial approaching, Phoenix Sister dispersed tasks to people in a detailed way in advance. She arranged people and carriages in Rong mansion to accompany Lady Wang when carrying out the coffin. She also made sure that she had a satisfactory place to sleep there.A mass of things happened at this period: the Duke of Shanguo’s wife had just died, Lady Xing and Lady Wang had to send sacrificial gifts and attend her funeral; the birthday presents had to be sent to the consort of the Prince of Xi’an. Then a first son was born to the Duke of Zhengguo and congratulatory gifts had to be sent. Then Phoenix Sister had to write a letter home and prepare gifts for her brother Wang Ren to take when he returned south with his family. Then Welcome Spring fell ill and every day they had to call in doctors, study their diagnoses, discuss the cause of the illness and decide on prescriptions...&lt;br /&gt;
&lt;br /&gt;
As the day of the funeral approached, Phoenix was so occupied that she did not want to eat or drink, and was nervous. When she just arrived at Ning mansion, servants of Rong mansion followed her for an arrangement; when she just came back at the Rong mansion, attendants from Ning mansion asked her for a resolution.Though Phoenix Sister was so busy, she lifted her spirits and arranged everything very well, which was praised by the whole families. She did this because she was a kind of person who wanted to be powerful and was afraid to be criticized.&lt;br /&gt;
&lt;br /&gt;
Now the time had come for the wake. The family’s two troupes of actors and some musicians, dancers and acrobats were to perform a long programme of items, and the place was crowded with relatives and friends. As Madam You was still lying in the inside room, Phoenis Sister took charge of all greetings and disposition.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After Phoenix Sister finished her business, it was 1’oclock already. She slept for a little while and found it was soon morning again; so she dressed up quickly and arrived at Ning mansion.&lt;br /&gt;
&lt;br /&gt;
The day of the funeral approaching, Cousin Zhen with Yin Yang officials went to Iron Threshold Temple by carriages to check the place where coffin would be buried. He required the abbot No Sex to prepare new instruments needed carefully, and to invite good monks for receiving the coffin. No Sex was occupied with supper preparation. Cousin Zhen was not in the mood to eat or drink. As it was late for him to go back home, he slept in a room of the temple casually. The next morning, he went back home to deal with relevant things about carrying out the coffin upon burial for which he sent people to repair the place timely where coffin would be placed, and arranged teas as well as assistant people needed in Iron Threshold Temple.&lt;br /&gt;
&lt;br /&gt;
The day of carrying out the coffin upon burial approaching, Phoenix Sister dispersed tasks to people in a detailed way in advance. She arranged people and carriages in Rong mansion to accompany Lady Wang when carrying out the coffin. She also made sure that she had an appropriate place to stand.A mass of things happened at this period: the Duke of Shanguo’s wife had just died, Lady Xing and Lady Wang had to send sacrificial gifts and attend her funeral; the birthday presents had to be sent to the consort of the Prince of Xi’an; the first son of the Duke of Zhenguo was born and congratulatory gifts had to be sent; Phoenix Sister had to write a letter home and prepare gifts for her brother Wang Ren to take when he returned south with his family; Welcome Spring fell ill and every day they had to call in doctors to study her diagnoses, discuss the cause of the illness and decide on prescriptions..., name a few.&lt;br /&gt;
&lt;br /&gt;
As the day of the funeral approached, Phoenix was so occupied that she did not want to eat or drink, and was too nervous to sit and lie down comfortably. When she just arrived at Ning mansion, servants of Rong mansion followed her for an arrangement; when she just came back at the Rong mansion, attendants from Ning mansion asked her for a resolution.Though Phoenix Sister was so busy, she lifted her spirits and arranged everything very well, which was praised by the whole families. She did this because she was a kind of person who wanted to be powerful and was afraid to be criticized.&lt;br /&gt;
&lt;br /&gt;
Now the time had come for the wake. The family’s two troupes of actors and some musicians, dancers and acrobats were to perform a long programme of items, and the place was crowded with relatives and friends. As Madam You was still lying in the inner room, Phoenis Sister took charge of all greetings and disposition.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 05:54, 21 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
After Phoenix Sister finished her business, it was 1’oclock already. She slept for a little while and found it was soon morning again; so she dressed up quickly and arrived at Ning mansion.&lt;br /&gt;
&lt;br /&gt;
The day of the funeral approaching, Treasure Merchant with Yin Yang officials went to Iron Threshold Temple by carriages to check the place where coffin would be buried. He required the abbot No Sex to prepare new instruments needed carefully, and to invite good monks for receiving the coffin. No Sex was occupied with supper preparation. Treasure Merchant was not in the mood to eat or drink. As it was late for him to go back home, he slept in a room of the temple casually. The next morning, he went back home to deal with relevant things about carrying out the coffin upon burial for which he sent people to repair the place timely where coffin would be placed, and arranged teas as well as assistant people needed in Iron Threshold Temple.&lt;br /&gt;
&lt;br /&gt;
The day of carrying out the coffin upon burial approaching, Phoenix Sister dispersed tasks to people in a detailed way in advance. She arranged people and carriages in Rong mansion to accompany Lady King when carrying out the coffin. She also made sure that she had a satisfactory place to sleep there.A mass of things happened at this period: the Duke Repair’s wife had just died, Lady City and Lady King had to send sacrificial gifts and attend her funeral; the birthday presents had to be sent to the consort of the Prince of Xi’an. Then a first son was born to the Duke Conquering A Country and congratulatory gifts had to be sent. Then Phoenix Sister had to write a letter home and prepare gifts for her brother Wang Benevolence to take when he returned south with his family. Then Spring Pleasure Merchant fell ill and every day they had to call in doctors, study their diagnoses, discuss the cause of the illness and decide on prescriptions...&lt;br /&gt;
&lt;br /&gt;
As the day of the funeral approached, Phoenix was so occupied that she did not want to eat or drink, and was nervous. When she just arrived at Ning mansion, servants of Rong mansion followed her for an arrangement; when she just came back at the Rong mansion, attendants from Ning mansion asked her for a resolution.Though Phoenix Sister was so busy, she lifted her spirits and arranged everything very well, which was praised by the whole families. She did this because she was a kind of person who wanted to be powerful and was afraid to be criticized.&lt;br /&gt;
&lt;br /&gt;
Now the time had come for the wake. The family’s two troupes of actors and some musicians, dancers and acrobats were to perform a long programme of items, and the place was crowded with relatives and friends. As Madam Outstanding was still lying in the inside room, Phoenix Sister took charge of all greetings and disposition.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 07:36, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
台族中虽有许多妯娌，也有羞口羞脚的，也有不惯见人的，也有惧贵怯官的，种种之类，俱不及凤姐举止大雅，言语典则，因此也不把众人放在眼里，挥霍指示，任其所为，旁若无人。一夜中灯明火彩，客送官迎，百般热闹，自不用说。至天明吉时，一般六十四名青衣请灵。前面铭旌上大书：“诰封一等宁国公冢孙妇防护内廷紫禁道御前侍卫龙禁尉享强寿贾门秦氏宜人之灵柩。”一应执事陈设，皆系现赶新做出来的，一色光彩夺目。宝珠自行未嫁女之礼，摔丧驾灵，十分哀苦。&lt;br /&gt;
    &lt;br /&gt;
那时官客送殡的，有镇国公牛清之孙现袭一等伯牛继宗，理国公柳彪之孙&lt;br /&gt;
现袭一等子柳芳，齐国公陈冀之孙世袭三品威镇将军陈瑞文，治国公马魁之孙&lt;br /&gt;
世袭三品威远将军马尚，修国公候晓明之孙世袭一等于侯孝康；缮国公诰命亡&lt;br /&gt;
故，其孙石光珠守孝不得来。这六家与荣宁二家，当日所称“八公”的便是。余&lt;br /&gt;
者更有南安郡王之孙，西宁郡王之孙，忠靖侯史鼎，平原侯之孙世袭二等男蒋子&lt;br /&gt;
宁，定城侯之孙世袭二等男兼京营游击谢鲲，襄阳侯之孙世袭二等男戚建辉，景&lt;br /&gt;
田侯之孙五城兵马司裘良。余者锦乡伯公子韩奇、神武将军公子冯紫英，陈也&lt;br /&gt;
俊、卫若兰等，诸王孙公子，不可枚数。堂客也共有十来顶大轿，三四十顶小轿，&lt;br /&gt;
连家下大小轿车辆，不下百十余乘。&lt;br /&gt;
&lt;br /&gt;
In the whole family, there were many sisters-in-law, some of whom were too shy to speak, some of whom were unaccustomed to the strangers, and some of whom were afraid of the officials. All of them had no capacity of coming up to the standards of Sister Phoenix, achieving her manner and conduct. That’s why she looked down to others, just giving instructions and orders and did what she wants as if there were nobody. In the whole night, the lanterns shined brightly and the fire flickered brilliantly, let alone the jollification together with the guests welcoming the arrival of the officials. At the dawn of the next morning, sixty four people dressed in blue carried the coffin at the appropriate moment. On the funeral streamer, it said: “Coffin of lady Qin, a lady of the fifth degree, (by marriage) of the Merchant mansion, deceased at middle age, consort of the grandson of the Ning Kuo Duke with the first rank title of honour, (whose status is) a guard of the Imperial antechamber, charged with the protection of the Inner Palace and Roads in the Red Prohibited City.” As all of the paraphernalia and ornaments were all brand-new, hurriedly made for the present occasion, the uniform lustrous brilliancy they shed was sufficient to dazzle the eyes. Precious Pearl, who could just observe the rites prescribed for unmarried daughters, dashed the bowl and walked by the coffin sorrowfully.&lt;br /&gt;
&lt;br /&gt;
At that time, among the officials who escorted the funeral procession, were Niu Jizong, the grandson of Zhen Guo duke (Niu Qingzhi), who had now inherited the status of earl of the first degree; Liu Fang, the grandson of the duke of Li Kuo Liu Biao, who had recently inherited the rank of viscount of the first class; Chen Ruiwen, the grandson of Chen Yi, duke of Qi Guo, who held the hereditary rank of general of the third degree, with the prefix of majestic authority; Ma Shang, the grandson of Ma Kui, duke of Zhi Guo, by inheritance general of the third rank with the prefix of majesty afar; Hou Xiaokang, an hereditary viscount of the first degree, grandson of the duke of Xiu Guo, Hou Xiaoming by name; while the death of the consort of the duke of Shan Guo had obliged his grandson Shi Guangchu to go into mourning so that he could not be present. These were the six families which had, along with the two households of Rong and Ning, been, at one time, designated the eight dukes. Among the rest, there were the grandson of the Prince of Nan An; the grandson of the Prince of Xi Ning; Shi Ding, marquis of Zhong Jing; Jiang Zining, an hereditary baron of the second grade, grandson of the earl of Ping Yuan; Xie Kun, an hereditary baron of the second order and Captain of the Metropolitan camp, grandson of the marquis of Ding Cheng; Qi Jianhui, an hereditary baron of the second rank, a grandson of the marquis of Xiang Yang; Si Qiuliang, in command of the Five Cities, grandson of the marquis of Jing Tian. The remainder were Han Qi, the son of the earl of Qin Xiang; Feng Ziying, the son of a general, whose prefix was supernatural martial spirit; Chen Yejun, Wei Ruolan and others, grandsons and sons of princes who could not be counted. As for the ladies, there were also about ten large official sedan chairs, thirty or forty private chairs, and including the official and non-official chairs, and carriages containing inmates of the household, there must have been over a hundred and ten.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In the whole family, there were many sisters-in-law, some of whom were too shy to speak, some of whom were unaccustomed to the strangers, and some of whom were afraid of the officials. None of them could compare with Sister Phoenix with her manner and conduct. That’s why she looked down upon others, just giving instructions and orders and did whatever she wanted as she liked regardless of anyone else. In the whole night, the lanterns shined brightly and the fire flickered brilliantly, let alone the jollification together with the guests welcoming the arrival of the officials. At the dawn of the next morning, sixty four people dressed in blue carried the coffin at the appropriate moment. On the funeral streamer, it said, “Coffin of lady Qin, a lady of the fifth degree, (by marriage) of the Merchant mansion, deceased at middle age, consort of the grandson of the Ning Kuo Duke with the first rank title of honour, (whose status is) a guard of the Imperial antechamber, charged with the protection of the Inner Palace and Roads in the Red Prohibited City.” As all of the paraphernalia and ornaments were all brand-new, hurriedly made for the present occasion, the uniform lustrous brilliancy they shed was sufficient to dazzle the eyes. Precious Pearl, who could just observe the rites prescribed for unmarried daughters, dashed the bowl and walked by the coffin sorrowfully.&lt;br /&gt;
&lt;br /&gt;
At that time, among the officials who escorted the funeral procession, were Niu Jizong, the grandson of Zhen Guo duke (Niu Qingzhi), who had now inherited the status of earl of the first degree; Liu Fang, the grandson of the duke of Li Kuo Liu Biao, who had recently inherited the rank of viscount of the first class; Chen Ruiwen, the grandson of Chen Yi, duke of Qi Guo, who held the hereditary rank of general of the third degree, with the prefix of majestic authority; Ma Shang, the grandson of Ma Kui, duke of Zhi Guo, by inheritance general of the third rank with the prefix of majesty afar; Hou Xiaokang, an hereditary viscount of the first degree, grandson of the duke of Xiu Guo, Hou Xiaoming by name; while the death of the consort of the duke of Shan Guo had obliged his grandson Shi Guangchu to go into mourning so that he could not be present. These were the six families which had, along with the two households of Rong and Ning, been, at one time, designated the eight dukes. Among the rest, there were the grandson of the Prince of Nan An; the grandson of the Prince of Xi Ning; Shi Ding, marquis of Zhong Jing; Jiang Zining, an hereditary baron of the second grade, grandson of the earl of Ping Yuan; Xie Kun, an hereditary baron of the second order and Captain of the Metropolitan camp, grandson of the marquis of Ding Cheng; Qi Jianhui, an hereditary baron of the second rank, a grandson of the marquis of Xiang Yang; Si Qiuliang, in command of the Five Cities, grandson of the marquis of Jing Tian. The remainder were Han Qi, the son of the earl of Qin Xiang; Feng Ziying, the son of a general, whose prefix was supernatural martial spirit; Chen Yejun, Wei Ruolan and others, grandsons and sons of princes who could not be counted. As for the ladies, there were also about ten large official sedan chairs, thirty or forty private chairs, and including the official and non-official chairs, and carriages containing inmates of the household, there must have been over a hundred and ten.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 06:27, 9 June 2021 (UTC)&lt;br /&gt;
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=Dèng Dān 邓丹=&lt;br /&gt;
连前面各色执事陈设百耍，浩浩荡荡，一带摆三四里远。&lt;br /&gt;
    &lt;br /&gt;
走不多时，路上彩棚高搭，设席张筵，和音奏乐，俱是各家路祭：第一棚是东&lt;br /&gt;
平王府的祭，第二棚是南安郡王的祭，第三棚是西宁郡王的祭，第四棚便是北静&lt;br /&gt;
郡王的祭。原来这四王，当日惟北静王功最高，及今子孙犹袭王爵。现令北静&lt;br /&gt;
王世荣年未弱冠，生得美秀异常，情性谦和。近闻宁国府冢孙妇告殂，因想当日&lt;br /&gt;
彼此祖父有相与之情，同难同荣，未以异姓相视，因此不以王位自居，上日也曾&lt;br /&gt;
探丧上祭，如今又设路奠，命麾下各官在此伺候。自己五更入朝，公事一毕，便&lt;br /&gt;
换了素服，坐大轿，鸣锣张伞而来，至棚前落轿，手下各官两旁拥侍，军民人众不得往还。&lt;br /&gt;
    &lt;br /&gt;
一时只见宁府大殡浩浩荡荡、压地银山一般从北而至。早有宁府开路传&lt;br /&gt;
事人等报与贾珍，贾珍急命前面住扎，同贾赦贾政三人连忙迎来，以国礼相见。&lt;br /&gt;
世荣在轿内欠身，含笑答礼，仍以世交称呼接待，并不自大。贾珍道：“犬妇之&lt;br /&gt;
丧，累蒙郡驾下临，荫生辈何以克当。”世荣笑道：“世交至谊，何出此言？”遂回头令长府官主祭代奠。贾赦等一旁还礼，复亲身来谢恩。世荣十分谦逊，因问贾政道：“那一位是衔玉而诞者？久欲得一见为快，今日一定在此，何不请来。”&lt;br /&gt;
贾政忙退下，命宝玉更衣，领他前来谒见。&lt;br /&gt;
&lt;br /&gt;
With all kinds of decorations and performances in front, the procession extended about three of four miles away. Before long they reached stands with coloured silk awnings by the roadside where music was played and sacrificial offerings had been set out by different families. The first building belonged to the houses of the Prince of Dongping, the second was the Prince of Nan'an, the third was the Prince of Xining, and the last one is the Prince of Beijing. In the past, the Price if Beijing owned the highest status of the four, and his title was inherited by his descendants. The Prince of Beijing was very young with handsome appearance and gentleness. When he heard the grandson of the Duke of Ningguogong had lost his wife, the friendship and shared danger between their forefathers' made him ignore other considerations of rank. Yesterday, he went in person to express his condolences.Now, he had set up a funeral booth along the road.Some officials were dispatched by him to serve while he went to the court at dawn. Having finished all the things, he changed into simple clothes and went back by palanquin, accompanying with sound gongs and ceremonial umbrellas. He went off the palanquin at the door and his officers served him at hand. Soldiers and civilians were not allowed to pass.&lt;br /&gt;
&lt;br /&gt;
Presently, from the north, the Ning Mansion’s magnificent funeral procession bore down on them like a great silver landslide. The runners sent ahead to clear the way had reported the prince’s arrival to Jia Zhen, who now ordered the procession to halt while he, Jia She and Jia Zheng went to greet the prince according to state ceremonial. The prince bowed affably in return from his palanquin, treating them as old family friends without any affectation. Jia Zhen said, “We are overwhelmed by the favor done us by Your Highness in honoring my daughter-in-law’s funeral with your presence.”“That is no way for good friends to talk,” protested the prince.Then he turned and ordered his chief steward to preside at the sacrifice for him and pour a libation. Jia She and the others, having bowed in return, stepped forward to express their gratitude. The Prince of Beijing was completely unassuming. He asked Jia Zheng, “Which is the young gentleman born with a piece of jade in his mouth? I have long wanted to meet him but have never had the time. I am sure he must be here today. Won’t you present him?” Jia Zheng withdrew at once to fetch Precious Jade. He made him change out of mourning, then took him to meet the prince.&lt;br /&gt;
&lt;br /&gt;
With all kinds of decorations and performances in front, the procession extended about three of four miles away. Before long they reached stands with coloured silk awnings by the roadside where music was played and sacrificial offerings had been set out by different families. The first building belonged to the houses of the Prince of Dongping, the second was the Prince of Nan'an, the third was the Prince of Xining, and the last one is the Prince of Beijing. In the past, the Price if Beijing owned the highest status of the four, and his title was inherited by his descendants. The Prince of Beijing was very young with handsome appearance and gentleness. When he heard the grandson of the Duke of Ningguogong had lost his wife, the friendship and shared danger between their forefathers' made him ignore other considerations of rank. Yesterday, he went in person to express his condolences.Now, he had set up a funeral booth along the road.Some officials were dispatched by him to serve while he went to the court at dawn. Having finished all the things, he changed into simple clothes and went back by palanquin, accompanying with sound gongs and ceremonial umbrellas. He went off the palanquin at the door and his officers served him at hand. Soldiers and civilians were not allowed to pass.&lt;br /&gt;
&lt;br /&gt;
Presently, from the north, the Ning Mansion’s magnificent funeral procession bore down on them like a great silver landslide. The runners sent ahead to clear the way had reported the prince’s arrival to Treasure Merchant, who now ordered the procession to halt while he, Pardon Merchant and Master Merchant went to greet the prince according to state ceremonial. The prince bowed affably in return from his palanquin, treating them as old family friends without any affectation. Treasure Merchant said, “We are overwhelmed by the favor done us by Your Highness in honoring my daughter-in-law’s funeral with your presence.”“That is no way for good friends to talk,” protested the prince.Then he turned and ordered his chief steward to preside at the sacrifice for him and pour a libation. Pardon Merchant and the others, having bowed in return, stepped forward to express their gratitude. The Prince of Beijing was completely unassuming. He asked Master Merchant , “Which is the young gentleman born with a piece of jade in his mouth? I have long wanted to meet him but have never had the time. I am sure he must be here today. Won’t you present him?” Master Merchant withdrew at once to fetch Precious Jade. He made him change out of mourning, then took him to meet the prince.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 16:22, 27 April 2021 (UTC)&lt;br /&gt;
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The runners sent ahead to clear the way  the prince’s would arrive to Jia Zhen, who now ordered the procession to halt while he, Jia She and Jia Zheng went to greet the prince according to state ceremonial. The prince bowed affably in return from his palanquin, treating them as old family friends without any affectation. Jia Zhen said, “We are overwhelmed by the favor done us by Your Highness in honoring my daughter-in-law’s funeral with your presence.”“That is no way for good friends to talk,” protested the prince.Then he turned and ordered his chief steward to preside at the sacrifice for him and pour a libation. Jia She and the others, having bowed in return, stepped forward to express their gratitude. The Prince of Beijing was completely unassuming. He asked Jia Zheng, “Which is the young gentleman born with a piece of jade in his mouth? I have long wanted to meet him but have never had the time. I am sure he must be here today. Won’t you present him?” Jia Zheng withdrew at once to fetch Precious Jade. He made him change out of mourning, then led him to meet the prince.--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:40, 2 June 2021 (UTC)Ding Zhongxia&lt;br /&gt;
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=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
那宝玉素闻得世荣是个贤王，且才貌俱全，风流跌宕，不为官俗国体所缚，每思相会，只是父亲拘束，不克如愿，今见反来叫他，自是喜欢。一面走，一面瞥见那世荣坐在轿内，好个仪表。不知近前又是怎样，且听下回分解。&lt;br /&gt;
    &lt;br /&gt;
◎第十五回 王凤姐弄权铁槛寺  秦鲸卿得趣馒头庵&lt;br /&gt;
    &lt;br /&gt;
话说宝玉举目见北静王世荣头上戴着净白簪缨银翅王帽，穿着江牙海水&lt;br /&gt;
五爪龙白蟒袍，系着碧玉红鞓带；面如美玉，目似明星，真好秀丽人物。宝玉忙&lt;br /&gt;
抢上来参见，世荣忙从轿内伸手搀住。见宝玉藏着束发银冠，勒着双龙出海抹&lt;br /&gt;
额，穿着白蟒箭袖，围着攒珠银带；面若春花，目如点漆。世荣笑道：“名不虚传，果然如‘宝’似‘玉’。”问：“衔的那宝贝在那里？”宝玉见问，连忙从衣内取出，递与世荣。世荣细细看了，又念了那上头的字，因问：“果灵验否？”贾政忙道：“虽如此说，只是未曾试过。”世荣一面极口称奇，一面理顺彩绦，亲自与宝玉带上，又携手问宝玉几岁，现读何书。宝玉一一答应。&lt;br /&gt;
    &lt;br /&gt;
世荣见他语言清朗，谈吐有致，一面又向贾政笑道：“令郎真乃龙驹凤雏，&lt;br /&gt;
非小王在世翁前唐突，将来‘雏凤清于老凤声’，未可量也。”贾政陪笑道：“犬子岂敢谬承金奖，敕藩郡余祯，果如所言，亦荫生辈之幸矣。”&lt;br /&gt;
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Looking up, Precious Jade saw that the Prince of Beijing had on a princely silver-winged cap with white tassels, a white robe embroidered with zigzag wave patterns and five-clawed dragons, and a red leather belt studded with green jade. With his face fair as jade, his eyes bright as stars, he was truly a handsome figure. Precious Jade started forward to make his obeisance. As the prince from his palanquin raised him up, he noticed that Precious Jade was wearing a sliver chaplet in the form of two dragons rising from the sea, an archer’s coat embroidered with white serpents, and a silver belt set with pearls.  “You live up to your name,” remarked the prince. “You are really like precious jade. But where is that gem with which you came into the world?””Precious Jade hastily took the jade from inside his garments and handed it to the prince, who examined it carefully and read the inscription. “Does it actually have magic powers?” he asked.“So they say,” answered Jia Zheng. “But it has never yet been put to the test.” The prince was very struck by the jade and, smoothing its silken cord, with his own hands he put it round Precious Jade’s neck. Then taking the boy’s hand he asked him his age and what he was studying. The clarity and fluency of Precious Jade’s answers made the prince turn to observe to Jia Zheng, “Your son is truly a dragon’s colt or young phoenix. May I venture to predict that in time to come this young phoenix may even surpass the old one?” “My worthless son does not deserve such high praise,” rejoined Jia Zheng hurriedly with a courteous smile. “If thanks to the grace of Your Highness such proves the case, that will be our good fortune.”&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
世荣又道：“只是一件，令郎如此资质，想老太夫人自然钟爱；但吾辈后生，甚不宜溺爱，溺爱则未免荒失了学业。昔小王曾蹈此辙，想令郎亦未必不如是也。若令郎在家难以用功，不妨常到寒第，小王虽不才，却多蒙海内众名士凡至都者，未有不垂青目，是以寒第高人颇聚，令郎常去谈谈会会，则学问可以日进矣。”贾政忙躬身答道：“是。”&lt;br /&gt;
    &lt;br /&gt;
世荣又将腕上一串念珠卸下来，递与宝玉，道：“今日初会，仓卒无敬贺之&lt;br /&gt;
物，此系圣上所赐蕶苓香念珠一串，权为贺敬之礼。”宝玉连忙接了，回身奉与贾政。贾政与宝玉一齐谢过了。于是贾赦、贾珍等一齐上来请回舆，世荣道：“逝&lt;br /&gt;
者已登仙界，非碌碌你我尘寰中人也。小王虽上叨天恩，虚邀郡袭，岂可越仙輀&lt;br /&gt;
而进也？”贾赦等见执意不从，只得告辞谢恩回来，命手下人掩乐停音，将殡过&lt;br /&gt;
完，方让北静王过去。不在话下。&lt;br /&gt;
    &lt;br /&gt;
且说宁府送殡，一路热闹非常。刚至城门，又有贾赦、贾政、贾珍诸同寅属&lt;br /&gt;
下各家祭棚接祭，一一的谢过，然后出城，竟奔铁槛寺大路而来。彼时贾珍带着&lt;br /&gt;
贾蓉来到诸长辈前让坐轿上马，因而贾赦一辈的各自上了车轿，贾珍一辈的也&lt;br /&gt;
将要上马；凤姐因记挂着宝玉，怕他在郊外纵性不服家人的话，贾政管不着，惟&lt;br /&gt;
恐有闪失，因此命小厮来唤他。&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
宝玉只得到他车前。凤姐笑道：“好兄弟，你是个尊贵人，同女孩儿一般人品，别学他们猴在马上。下来，咱们姐儿两个同车，岂不好么？”宝玉听说，便下了马，爬上凤姐车内，二人说笑前进。&lt;br /&gt;
    &lt;br /&gt;
不一时，只见那边两骑马直奔凤姐车，下马扶车回道：“这里有下处，奶奶&lt;br /&gt;
请歇歇更衣。”凤姐命请邢王二夫人示下，那二人回说：“太太们说不歇了，叫奶奶自便。”凤姐便命歇歇再走。小厮带着轿马岔出人群，往北而来。宝玉在车&lt;br /&gt;
内急命请秦相公。那时秦钟正骑着马随他父亲的轿，忽见宝玉的小厮跑来请他&lt;br /&gt;
去打尖，秦钟远看这宝玉所骑的马，搭着鞍笼，随着凤姐的车往北而去，便知宝&lt;br /&gt;
玉同凤姐一车，自己也带马赶上来，同入一庄门内。&lt;br /&gt;
    &lt;br /&gt;
那庄农人家，无多房舍，妇女无处回避；那些村姑庄妇见了凤姐、宝玉、秦钟&lt;br /&gt;
的人品衣服，几疑天人下降。凤姐进入茅屋，先命宝玉等出去玩玩。宝玉会意，&lt;br /&gt;
因同秦钟带了小厮们各处游玩。凡庄家动用之物，俱不曾见过的，宝玉见了，都&lt;br /&gt;
以为奇，不知何名何用。小厮中有知道的，一一告诉了名目并其用处。宝玉听&lt;br /&gt;
了，因点头道：“怪道古人诗上说：‘谁知盘中餐，粒粒皆辛苦。’正为此也。”一面说，一面又到一间房内，见炕上有个纺车，越发以为稀奇。小厮们又告以：“纺线织布之用。”&lt;br /&gt;
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Accordingly she ordered a page to summon him to her carriage, and when perforce he came she told him with a smile:“Dear cousin, you have your dignity and are as delicate as any girl. Don’t copy those apes on horseback. Wouldn’t it be better to come and share my carriage?” Precious Jade Merchant hurriedly dismounted to join her. They drove on, laughing and chatting, until two horsemen galloped up and alighted from their horses to report by the carriage, “We have reached a halting place, madam. Would you stop for a rest?”Having asked to know the wishes of Lady Xing and Lady Wang, Sister Phoenix was told, “Those Ladyships are not stopping, but they want you to suit your convenience.” Thereupon Sister Phoenix ordered a halt. Attendants led their carriage northwards away from the cortege and at Precious Jade Merchant’s orders went to invite Clock Grain, who was riding behind his father’s chair, to join them. When Precious Jade Merchant’s page brought him this invitation and he saw his friend’s riderless horse following Sister Phoenix’s carriage north, Clock Grain knew that Precious Jade Merchant must be with her. He promptly overtook them and they entered the gateway of a farm together. The menfolk here had long since been packed off, but the farmhouse had so few rooms that the womenfolk had nowhere to go to keep out of the way. The sudden appearance in their midst of Sister Phoenix, Precious Jade Merchant and Clock Grain with their gorgeous clothes and refined looks and manners made these village women stare with admiration. Once in the thatched house Splendid Phoenix King suggested to Precious Jade Merchant that he should amuse himself outside. Taking the hint, he led Clock Grain and the pages off to look around.He had never seen farm implements before and was thoroughly intrigued by the spades, picks, hoes and ploughs, although quite ignorant of their names and uses. When a page who knew informed him he nodded and remarked with a sigh:“Now I understand the words of the old poet: Who knows that each grain of rice we eat, Is the fruit of intensive toil?” Strolling into an outhouse, he was still more intrigued by a spinning-wheel on the kang. His pages told him this was used to weave yarn. He had just climbed up on the kang to turn the wheel for fun when in came a peasant girl of seventeen or eighteen. She ran over crying: “Don’t! You’ll break it!” She was shouted at by his pages, but Precious Jade Merchant had already let go of the wheel. “I’ve never seen one before,” he explained with a smile. “I just wanted to have a try.”“How could you people know how?” said the girl. “Get out of my way and I’ll show you.” &lt;br /&gt;
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--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 16:23, 14 June 2021 (UTC)&lt;br /&gt;
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Accordingly she ordered a page to summon him to her carriage, and when perforce he came, she told him with a smile:“Dear cousin, you have your dignity and are as delicate as any girl. Don’t copy those apes on horseback. Wouldn’t it be better to come to share my carriage?” Precious Jade Merchant hurriedly dismounted to join her. They drove on laughing and chatting until two horsemen galloped up and alighted by the carriage to report, “We have reached a halting place, madam. Will you stop for a rest?”Having asked to know the wishes of Lady Xing and Lady Wang, Splendid Phoenix King was told, “Their Ladyships are not stopping, but they want you to suit your convenience.” Thereupon Splendid Phoenix King ordered a halt. Attendants led their carriage northwards away from the cortege and at Precious Jade Merchant’s orders went to invite Clock Grain, who was riding behind his father’s chair, to join them. When Precious Jade Merchant’s page brought him this invitation and he saw his friend’s riderless horse following Splendid Phoenix King’s carriage north, Clock Grain knew that Precious Jade Merchant must be with her. He promptly overtook them and together they entered the gateway of a farm. The menfolk here had long since been packed off, but the farmhouse had so few rooms that the womenfolk had nowhere to go to keep out of the way. The sudden appearance in their midst of Splendid Phoenix King, Precious Jade Merchant and Clock Grain with their gorgeous clothes and refined looks and manners made these village women stare with admiration. Once in the thatched house Splendid Phoenix King suggested to Precious Jade Merchant that he should amuse himself outside. Taking the hint, he led Clock Grain and the pages off to look around.He had never seen farm implements before and was thoroughly intrigued by the spades, picks, hoes and ploughs, although quite ignorant of their names and uses. When a page who knew them informed him, he nodded and remarked with a sigh:“Now I understand the words of the old poet: Who knows that each grain of rice we eat, Is the fruit of intensive toil?” Strolling into an outhouse, he was still more intrigued by a spinning-wheel on the kang. His pages told him this was used to weave yarn.&lt;br /&gt;
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=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
宝玉便上炕摇转作耍，只见一个村妆丫头，约有十七八岁，走来说道：“别弄坏了！”众小厮忙喝住了，宝玉也住了手，说道：“我因不曾见过，所以&lt;br /&gt;
试一试玩儿。”那丫头道：“你们不会，我转给你瞧。”秦钟暗拉宝玉道：“此卿大有意趣。”宝玉推他道：“再胡说，我就打了。”说着，只见那丫头纺起线来，果然好看。忽听那边老婆子叫道：“二丫头，快过来！”那丫头丢了纺车，一径去了。&lt;br /&gt;
    &lt;br /&gt;
宝玉怅然无趣。只见凤姐打发人来叫他两个进去。凤姐洗了手，换了衣&lt;br /&gt;
服，问他换不换，宝玉道：“不换。”也就罢了。仆妇们端上茶食果品来，又倒上香茶来，凤姐等吃过茶，待他们收拾完备，便起身上车。外面旺儿预备赏封，赏了那庄户人家，那庄妇人等来谢赏。宝玉留心看时，并不见纺线之女。走不多远，却见这二丫头怀里抱了个小孩子，想是他的兄弟，同着几个小女孩子说笑而来。宝玉情不自禁，然身在车上，只得以目相送。一时电卷风驰，回头已无踪迹了。&lt;br /&gt;
    &lt;br /&gt;
说笑间，忽已赶上大殡。早已前面法鼓金饶，幢幡宝盖，铁槛寺中僧众已&lt;br /&gt;
列路旁。少时到了寺中，另演佛事，重设香坛，安灵于内殿偏室之中，宝珠安理&lt;br /&gt;
寝室为伴。&lt;br /&gt;
&lt;br /&gt;
Precious Jade had just climbed up on the kang to play with the spinning-wheel by rotating it when in came a peasant girl of seventeen or eighteen. She ran over crying: “Don’t! You’ll break it!” She was shouted at by his pages, but Precious Jade had already let go of the wheel.&amp;quot;I’ve never seen one as this before,&amp;quot; he explained with a smile. &amp;quot;I just wanted to have a try.&amp;quot; The girl said: &amp;quot;You don't know how to rotate it. Get out of the way and I’ll show you.&amp;quot;  Clock Qin pulled Precious Jade quietly and whispered:&amp;quot; How interested are this girl!&amp;quot; Precious Jade pushed him:&amp;quot; If you say any flimflam else, I will hit you.&amp;quot; When they were talking, the girl came to weave yarn, which looks beautiful. Suddenly, an old woman there was calling:&amp;quot; Come on! Second Girl. Hurry up!&amp;quot; The girl stopped weaving yarn, and went right away.&lt;br /&gt;
&lt;br /&gt;
Precious Jade felt so bored. Sister Phoenix sent a person to invite the two of them to come in. Sister Phoenix washed her hands and changed her clothes, then asked Precious Jade whether he would change his clothes. Precious Jade said:&amp;quot;No.&amp;quot; Then so he did. The servants brought in tea and fruits, and poured out fragrant tea. After eating and drinking, Sister Feng waited until they were ready, and then got up and boarded the carriage. Outside, Vigor prepared a reward and rewarded the peasant family. The peasant woman waited to give thanks. Precious Jade looked around carefully, but he did not see the spinning girl. When they had not gone a long way, he found her, with a little boy in her arms. She came joking and laughing with several little girls. Precious Jade thought that the little boy could be her brother. Precious Jade could not help herself, but he was in the carriage and could only see her off. After a moment of wind, he looked back only to find no trace.&lt;br /&gt;
&lt;br /&gt;
During the time of chatting and laughing, suddenly they had caught the funeral. Drums and cymbals, and settings for Buddhist ceremony had already been ready in front. The monks of the Iron Temple had listed by the roadside. A short while later, they arrived at the temple. Another Buddhist ceremony was held; the altar of incense was reset. Memorial tablets were placed in the inner temple partial room. Pearls and jewels were put in bedrooms as company.&lt;br /&gt;
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=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
外面贾珍款待一应亲友，也有扰饭的，也有就告辞的，一一谢过乏，&lt;br /&gt;
从公、侯、伯、子、男，一起一起的，散至未末方散尽了。里面的堂客皆是凤姐陪伴接待，先从诰命散起，也到晌午方散完了。只有几个近亲本族，等僦过三日道场方去呢。那时邢王二夫人知凤姐必不能回家，便要进城。王夫人要带了宝玉&lt;br /&gt;
同去，宝玉乍到郊外，那里肯回去？只要跟凤姐住着，王夫人只得交与凤姐而&lt;br /&gt;
去。&lt;br /&gt;
    &lt;br /&gt;
原来过铁槛寺是宁荣二公当日修造的，现今还有香火地亩，以备京中老了&lt;br /&gt;
人口，在此停灵。其中阴阳两宅俱是预备妥帖的，好为送灵人口寄居。不想如&lt;br /&gt;
今后人繁盛，其中贫富不一，或情性参商：有那家业艰难安分的，便住在这里了；&lt;br /&gt;
有那有钱有势尚排场的，只说这里不方便，一定另外或村庄，或尼庵，寻个下处，&lt;br /&gt;
为事毕宴退之所。即今秦氏之丧，族中诺人，皆权在铁槛寺下榻。独凤姐嫌不&lt;br /&gt;
方便，因遣人来和馒头庵的姑子净虚说了，腾出两间房来做下处。原来这馒头&lt;br /&gt;
庵就是水月寺，因他庙里做的馒头好，就起了这个浑号，高铁槛寺不远。&lt;br /&gt;
    &lt;br /&gt;
当下和尚工课已完，奠过晚茶，贾珍便命贾蓉请凤姐歇息。凤姐见还有几&lt;br /&gt;
个妯娌陪着女亲，自己便辞了众人，带了宝玉秦钟往水月庵来。原来秦业年迈&lt;br /&gt;
多病，不能在此，只命秦钟等待安灵罢，那秦钟只跟着凤姐宝玉。&lt;br /&gt;
&lt;br /&gt;
In the outer apartments, Treasure Merchant did the honors among the whole party of relatives and friends, some of whom asked to be allowed to stay for their meals, while others at this stage took their leave. And after they had returned thanks one by one, the dukes, marquises, earls, viscounts and barons, each in respective batches and they kept on leaving from between 1 and 3 pm, before they had finally all dispersed. In the inner chambers, the ladies were solely entertained and attended by Lady Phoenix. First were the consorts of officials to make a move here, and noon had also come. By the time, the whole party of them had left. These that remained were simply a few relatives of the same clan and others like them who eventually left after the completion of three days. The two ladies City and King, at this time aware that Lady Phoenix could not return home, will desire to enter the city at once. Madam King wanted to take Precious Jade home, but Precious Jade who had entered the city, entertained, of course no wish to go back, and he would agree to nothing else than to stay behind Lady Phoenix. So that Madam King had no option but to hand him over to her charge and left.&lt;br /&gt;
&lt;br /&gt;
In fact, the Temple of Iron Fence had been erected in days gone by, at the expense of two duke Peace and Honor; and there still remained up to these days, acres of land from which were derived the funds for incense and lights, on which the coffins of any members, old or young who died in the capital had to be deposited in this temple; and the inner and outer houses were all kept in good order and readiness, for the accommodation of those who formed the part of the cortege. At this time, the descendants mustered an immense crowd and among them were poor and rich of various degrees, or with like and dislike completely opposed. There were those who being in poor circumstances at home, and easily contented, readily took up their quarters in the temple; and there were those with money and position with extravagant ideas, who maintained that the accommodation in the temple was not suitable, and went in search of additional quarters, either in country houses or in convents, where they could have their meals and retire, after the ceremonies were over. On the occasion of Mrs. Grain's funeral, all the members of the clan put up temporarily in the Iron Fence Temple, Lady Phoenix looked down upon it as inconvenient and consequently despatched a servant to go and tell Pure Modest, a nun in Bread Convent, for empty rooms for her to go and live in. This Bread Convent had been styled the Water Moon Nunnery at one time; but because of good bread was made in this temple, hence it is given the nickname. This convent was not very distant from the Iron Fence Temple.&lt;br /&gt;
&lt;br /&gt;
So that, the bonzes brought their functions to a close and the sacrifice of evening was offered. Treasure Merchant asked Master Merchant to request Lady Phoenix to rest, and as Lady Phoenix perceived that there still remained several sisters-in-law to keep company to the female relatives. She took leave of the whole party of her own accord, along with Precious Jade and Clock Grain came to the Water Moon Convent. Notice that Business Grain was advanced in years and a victim to many illness, so that he was unable to remain in the temple long, then he ordered Goblet Qin wait until the coffin had been set in its resting place, with the result that Clock Grain came along. At the same time, as Lady Phoenix and Precious Jade back to the Water Moon Convent.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
In the outer apartments, Treasure Merchant did the honors among the whole party of relatives and friends, some of whom asked to be allowed to stay for their meals, while others at this stage took their leave. And after they had returned thanks one by one, the dukes, marquises, earls, viscounts and barons, each in respective batches and they kept on leaving from between 1 and 3 pm, before they had finally all dispersed. In the inner chambers, the ladies were solely entertained and attended by Lady Phoenix. First were the consorts of officials to make a move here, and noon had also come. By the time, the whole party of them had left. Those that remained were simply a few relatives of the same clan and others like them who eventually left after the completion of three days. The two ladies City and King, at this time aware that Lady Phoenix could not return home, will desire to enter the city at once. Madam King wanted to take Precious Jade home, but Precious Jade who had entered the city, entertained, of course, no wish to go back, and he would agree to nothing else than to stay behind Lady Phoenix. So that Madam King had no option but to hand him over to her charge and left.&lt;br /&gt;
&lt;br /&gt;
In fact, the Temple of Iron Fence had been erected in days gone by, at the expense of two duke Peace and Honor; and there still remained up to these days, acres of land from which were derived the funds for incense and lights, on which the coffins of any members, old or young who died in the capital had to be deposited in this temple; and the inner and outer houses were all kept in good order and readiness, for the accommodation of those who formed the part of the cortege. At this time, the descendants mustered an immense crowd and among them were poor and rich of various degrees, or with like and dislike completely opposed. There were those who being in poor circumstances at home, and easily contented, readily took up their quarters in the temple; and there were those with money and position with extravagant ideas, who maintained that the accommodation in the temple was not suitable, and went in search of additional quarters, either in country houses or in convents, where they could have their meals and retire after the ceremonies were over. On the occasion of Mrs. Grain's funeral, all the members of the clan put up temporarily in the Iron Fence Temple, Lady Phoenix looked down upon it as inconvenient and consequently despatched a servant to go and tell Pure Modest, a nun in Bread Convent, for empty rooms for her to go and live in. This Bread Convent had been styled the Water Moon Nunnery at one time, but because good bread was made in this temple, hence it is given the nickname. This convent was not very distant from the Iron Fence Temple.&lt;br /&gt;
&lt;br /&gt;
So that, the bonzes brought their functions to a close and done the sacrifice of evening tea. Treasure Merchant asked Master Merchant to request Lady Phoenix to rest, and as Lady Phoenix perceived that there still remained several sisters-in-law to keep company to the female relatives. She took leave of the whole party of her own accord, along with Precious Jade and Clock Grain came to the Water Moon Convent. Notice that Business Grain was advanced in years and a victim to many illnesses so that he was unable to remain in the temple long, then he ordered Goblet Qin to wait until the coffin had been set in its resting place, with the result that Clock Grain came along. At the same time, as Lady Phoenix and Precious Jade back to the Water Moon Convent.--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:51, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
一时到了水月庵，净虚带领智善智能两个徒弟出来迎接，大家见过。凤姐等至净室更衣净手毕，因见智能儿越发长高了，模样越发出息了，因说道：“你们师徒怎么这些日子也不往我们那里去？”净虚道：“可是这几日都没有工夫，因胡老爷府里产了公子，太太送了十两银子来这里。叫请几位师父念三日‘血盆经’，忙的没个空儿，就没有来请奶奶的安。”&lt;br /&gt;
    &lt;br /&gt;
不言老尼陪着凤姐，且说秦钟宝玉二人正在殿上玩耍，因见智能过来，宝&lt;br /&gt;
玉笑道：“能儿来了。”秦钟说：“理那东西作什么？”宝玉笑道：“你别弄鬼！那一&lt;br /&gt;
日在老太太房里，一个人没有，你楼着他作什么？这会子还哄我。”秦钟笑道：&lt;br /&gt;
“这可是没有的话。”宝玉道：“有没有也不管你，你只叫住他倒碗茶来我吃，就&lt;br /&gt;
丢开手。”秦钟笑道：“这又奇了！你叫他倒去，还怕他不倒？何必要我说呢。”&lt;br /&gt;
宝玉道：“我叫他倒的是无情意的，不及你叫他倒的是有情意的。”秦钟只得说&lt;br /&gt;
道：“能儿倒碗茶来。”那能儿自幼在荣府走动，无人不识，常和宝玉秦钟玩笑，如&lt;br /&gt;
今长大了，渐知风月，便看上了秦钟人物风流，那秦钟也爱他研媚，二人虽未上&lt;br /&gt;
手，却已情投意合了。智能走去倒了茶来。秦钟笑说：“给我。”宝玉又叫：“给&lt;br /&gt;
我！”智能儿抿嘴笑道：“一碗茶也争，难道我手上有蜜！”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
They were met at the gate of the Water Moon Nunnery by Abbess Emptiness Quiet and two novices, Kindness and Sapientia. After an exchange of greetings, Sister Phoenix retired to a rest room. While she was changing she noticed how tall and pretty Sapientia had grown. &amp;quot;Why haven’t you and your abbess been to see us lately? &amp;quot; she asked. &amp;quot;A few days ago a son was born to Mr. Hu,&amp;quot; explained the abbess. &amp;quot;His good lady sent us ten tales of silver to get some of our sisters to chant the Nativity sutra for three days, so we've been too busy to come and pay our respects.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
But let us return to Precious Jade and Clock Qin, who were fooling about in the hall when Sapientia came in. &amp;quot;Look who's here,&amp;quot; said Precious Jade with a smile. &amp;quot;What about it?&amp;quot; retorted Clock Qin. It's no use play-acting. What were you doing with her on your lap that day in my grandmother's room, when no one else was about? Stop trying to fool me.&amp;quot; &amp;quot;You're just making that up!&amp;quot; protested Clock Qin. &amp;quot;Well, never mind. Tell her to pour me some tea and I'll let you off.&amp;quot; &amp;quot;Don't be ridiculous. Could she refuse if you ask her yourself? Why should I ask for you?&amp;quot; &amp;quot;For you, she would do it for love, but not for me.&amp;quot; Then Clock Qin said, &amp;quot;Bring me some tea, Sapientia, will you?&amp;quot; This young novice had been in and out of the Rong Mansion since childhood. She knew everyone there and had often romped with Precious Jade and Clock Qin; and now that she was old enough to know the meaning of love she had taken a fancy to handsome young Clock Qin, who was attracted in tum by her pretty looks. Although nothing had passed between them, they already had a secret understanding. So now with a radiant glance at him she complied. Soon she back again with a cup of tea. &amp;quot;Give it to me!&amp;quot; urged Clock Qin with a smile. &amp;quot;No, to me!&amp;quot; cried Precious Jade. Sapientia laughed mockingly. &amp;quot;Do I have honey on my hands that you squabble even over a cup of tea?&amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
宝玉先抢得了，喝着，&lt;br /&gt;
方要问话，只见智善来叫智能去摆果碟子，一时来请他两个去吃果茶。他两个&lt;br /&gt;
那里吃过些东西？略坐一坐仍出来玩耍。&lt;br /&gt;
凤姐也略坐片时，便回至净室歇息，老尼相送。此时众婆娘媳妇见无事，&lt;br /&gt;
都陆续散了，自去歇息，跟前不过几个心腹小婢，老尼便趁机说道：“我有一事，&lt;br /&gt;
要到府里求太太，先请奶奶一个示下。”凤姐问：“何事？”老尼道：“阿弥陀佛！&lt;br /&gt;
只因当日我先在长安县善才庵内出家的时节，那时有个施主姓张，是大财主。&lt;br /&gt;
他有个女儿小名金哥，那年都往我庙里来进香，不想遇见了长安府太爷的小舅&lt;br /&gt;
子李衙内。那李衙内一心看上，要娶金哥，打发人来求亲，不想金哥已受了原任&lt;br /&gt;
长安守备的公子的聘定。张家若退亲，又怕守备不依，因此说已有了人家。谁&lt;br /&gt;
知李公子执意要娶他女儿，张家正无计策，两处为难。不料守备家一知此信，也&lt;br /&gt;
不问青红皂白，便来作践辱骂，说：‘一个女儿许几家人家？’偏不许退定礼，就打&lt;br /&gt;
官司告状起来。那家急了，只得着人上京来寻门路，赌气偏要退定礼。我想如&lt;br /&gt;
今长安节度云老爷，与府上相契，可以求太太与老爷说声，发一封书，求云老爷&lt;br /&gt;
和那守备说一声，不怕他不依。若是肯行，张家连倾家孝顺也都情愿。”&lt;br /&gt;
&lt;br /&gt;
Baoyu grabbed hold of the cup and started drinking, and before he could speak again Zhishan came to fetch Zhineng to lay the table.Presently she returned to invite them to have some refreshments, but the tea and cakes served in the convent did not tempt them. They sat a while, then escaped as soon as they could to amuse themselves elsewhere.&lt;br /&gt;
Xifeng retired presently, too, to the rest room accompanied by the abbess. When the older maid-servants saw there was nothing to do they went off to bed themselves, leaving only a few trusted younger maids in attendance.The abbess seized this chance to say, &amp;quot;There&amp;quot;s something I've been meaning to go and ask Her Ladyship, but I&amp;quot;d like to have your advice on it first, madam.&amp;quot; &amp;quot;What is it?&amp;quot; asked Xifeng.&amp;quot;Amida Buddha!&amp;quot; sighed the abbess.&amp;quot;When I became a nun in Shancai Convent in the county of Changan, one of our benefactors was a very wealthy man called Zhang, whose daughter Jinge often came to our temple to offer incense. A young Mr. Li, who is brother-in-law to the prefect of Changan, met her there. He fell in love at first sight and sent to ask for her hand; but she was already engaged to the son of the former inspector of Changan. The Zhangs would have liked to cancel the engagement but were afraid the inspector might object, so they explained to the Lis that she was betrothed. Still young Mr. Li insisted on having her, making things very difficult for the Zhangs. &amp;quot;When word of this reached the inspector&amp;quot;s family, without even finding out the truth of the matter they came and stormed,,How many more men will you engage your daughter to?&amp;quot; They refused to take back the betrothal gift stook the matter to court. &amp;quot;The girl&amp;quot;s family are desperate. They've sent to the capital to enlist help and are quite determined to return the gifts. &amp;quot;Well, I understand that General Yun the Military Governor of Changan is on friendly terms with your family. If Lady Wang would get His Lordship to write to General Yun, asking him to have a word with the inspector, I'm sure he'd drop the suit. And the Zhangs would gladly give any-thing - even their whole fortune - in return for this favour.”&lt;br /&gt;
&lt;br /&gt;
Precious Jade Merchant grabbed hold of the cup and started drinking, and before he could speak again Zhishan came to fetch Zhineng to lay the table.Presently she returned to invite them to have some refreshments, but the tea and cakes served in the convent did not tempt them. They sat a while, then escaped as soon as they could to amuse themselves elsewhere.&lt;br /&gt;
Splendid Phoenix King retired presently, too, to the rest room accompanied by the abbess. When the older maid-servants saw there was nothing to do they went off to bed themselves, leaving only a few trusted younger maids in attendance.The abbess seized this chance to say, &amp;quot;There&amp;quot;s something I've been meaning to go and ask Her Ladyship, but I&amp;quot;d like to have your advice on it first, madam.&amp;quot; &amp;quot;What is it?&amp;quot; asked Splendid Phoenix King.&amp;quot;Precious Jade firstly grabbed the cup and started drinking. When he wanted to ask some questions, Zhishan fetched Zhineng to lay a fruit tray on table and she invited them to eat fruits and tea.But they had not eat such things before, so they sat for a while and then escaped to amusing themselves.&lt;br /&gt;
 &amp;quot;Well, I knew that General Yun the Military Governor of Changan is on friendly terms with your family. So,if Lady Wang would ask His Lordship for a letter to request General Yun the Military Governor of Changan to inform the inspector, General Yun must agreed with it. And the Zhangs would gladly give anything, even their whole fortune in return for this favour.”_Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
凤姐听了笑遭：“这事倒不大，只是太太再不管这样的事。”老尼道：“太太&lt;br /&gt;
不管，奶奶可以主张了。”凤姐笑道：“我也不等银子使，也不做这样的事。”净虚&lt;br /&gt;
听了，打去妄想，半响叹道：“虽如此说，只是张家已知我来求府里。如今不管这&lt;br /&gt;
事，张家不知道没工夫管这事，不希罕他的谢礼，倒像府里连这点子手段也没有&lt;br /&gt;
的一般。”&lt;br /&gt;
    &lt;br /&gt;
凤姐听了这话，便发了兴头，说道：“你是素日知道我的，从来不信什么阴&lt;br /&gt;
司地狱报应的，凭是什么事，我说要行就行。你叫他拿三千两银子来，我就替他&lt;br /&gt;
出这口气。”老尼听说，喜之不胜，忙说：“有，有！这个不难。”凤姐又道：“我比&lt;br /&gt;
不得他们扯蓬拉牵的图银子。这三千两银子，不过是给打发去说的小厮们作盘&lt;br /&gt;
缠，使他赚几个辛苦钱，我一个钱也不要。便是三万两我此刻还拿的出来。”老&lt;br /&gt;
尼忙答应道：“既如此，奶奶明日就开恩也罢了。”凤姐道：“你瞧瞧我忙的，那一&lt;br /&gt;
处少了我？我既应了你，自然快快的了结。”老尼道：“这点子事，在别人跟前，就&lt;br /&gt;
忙的不知怎么样；若是奶奶跟前，再添上些，也不够奶奶一发挥的。只是俗语说&lt;br /&gt;
的：‘能者多劳。’太太见奶奶大小事都妥帖，越发都推给奶奶了，奶奶也要保重&lt;br /&gt;
贵体才是。”一路奉承的话，凤姐越发受用，也不顾劳乏，更攀谈起来。&lt;br /&gt;
&lt;br /&gt;
Splendid Phoenix King laughed at this: &amp;quot;This matter is not big, but the wife no longer care about such things.&amp;quot; The old anun said, &amp;quot;You can master such things.&amp;quot; Splendid Phoenix King smiled and said, &amp;quot;I have enough money, and  I am unwilling to do such things.&amp;quot; After hearing this, Jing Xu dismissed her delusion. After a while Jing Xu sighed and said: &amp;quot;Although the condition is such, the Zhangs know that I have come here to beg for this thing.Now the Zhangs plan not to deal with this matter, and do not like his gifts, which lost us face.&amp;quot;&lt;br /&gt;
 &lt;br /&gt;
Upon hearing this words, Splendid Phoenix King became very angry and said, &amp;quot;You have known that I have never believed in anything fetishistic. I do whatever I want to do. Tell him to bring three thousand Yin, and I will help him vent his anger.&amp;quot; On hearing this,  The old anun was very excitedly said, &amp;quot;Yes, yes! It's not hard.&amp;quot; Splendid Phoenix King said again: &amp;quot;I do not lack money. This three thousand Yin was only for the trip fee for servants who were sent to pass on a message so they can earn some money. I don't keep any money. Even though it is 30,000 Yin, I also plan not to take any.&amp;quot; The old anun hurriedly replied: &amp;quot;In that case, Could you do it tomorrow?&amp;quot; Splendid Phoenix King said: &amp;quot;I'm busy now, because any small or big affairs need me to deal with. Since I promised you, of course I must be done it quickly.&amp;quot; Old anun said: &amp;quot;this small matter, in front of others, may be always in in suspense. On the contrary, if given it , even some more things, to you, it is very easy too. It's just saying goes- Able men are always busy. The wife knew you can deal everything properly, so the wife entrusted more to you.But you also remember to take care of yourself.&amp;quot; All the way to flatter, Splendid Phoenix King are more and more pleasant and chatted with her more,regardless of her fatigue.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Splendid Phoenix King laughed at this: &amp;quot;This doesn't matter, but the wife no longer care about such things.&amp;quot; The old nun said, &amp;quot;You can master such things.&amp;quot; Splendid Phoenix King smiled and said, &amp;quot;I have enough money, and  I am unwilling to do such things.&amp;quot; After hearing this, Jing Xu dismissed her delusion. After a while, Jing Xu sighed and said: &amp;quot;Although the condition is such, the Zhangs know that I have come here to beg for this thing. Now the Zhangs plan not to deal with this matter, and do not like his gifts, which lost us face.&amp;quot;&lt;br /&gt;
 &lt;br /&gt;
Upon hearing these words, Splendid Phoenix King became very angry and said, &amp;quot;You have known that I have never believed in anything fetishistic. I do whatever I want to do. Tell him to bring three thousand Yin, and I will help him vent his anger.&amp;quot; On hearing this,  The old nun was very excitedly said, &amp;quot;Yes, yes! It's not hard.&amp;quot; Splendid Phoenix King said again: &amp;quot;I do not lack money. This three thousand Yin was only for the trip fee for servants who were sent to pass on a message so they can earn some money. I don't keep any money. Even though it is 30,000 Yin, I also plan not to take any.&amp;quot; The old nun hurriedly replied: &amp;quot;In that case, Could you do it tomorrow?&amp;quot; Splendid Phoenix King said: &amp;quot;I'm busy now because any small or big affairs need me to deal with. Since I promised you, of course, I must be done it quickly.&amp;quot; Old nun said: &amp;quot;this small matter, in front of others, maybe always in suspense. On the contrary, if given it, even some more things, to you, it is very easy too. It's just saying goes- Able men are always busy. The wife knew you can deal with everything properly, so the wife entrusted more to you. But you also remember to take care of yourself.&amp;quot; All the way to flatter, Splendid Phoenix King is more and more pleasant and chatted with her more, regardless of her fatigue.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:14, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
谁想秦钟趁黑晚无人，来寻智能，刚至后面房中，只见智能独在那里洗茶&lt;br /&gt;
碗。秦钟便搂着亲嘴，智能急的跺脚说：“做什么！”就要叫唤。秦钟道：“好人，&lt;br /&gt;
我已急死了！你今儿再不依我，我就死在这里。”智能道：“你想怎么样？除非&lt;br /&gt;
等我出这牢坑，离了这些人，才好呢。”秦钟道：“这也容易，只是远水救不得近&lt;br /&gt;
火。”说着一口吹了灯，满屋漆黑，将智能抱到炕上，就云雨起来。那智能百般的&lt;br /&gt;
挣挫不起，又不好叫的，少不得依了。正在得趣，只见一人进来，将他二人按住，&lt;br /&gt;
也不出声，他二人唬得魂飞魄丧。倒是那人“嗤”的一声笑了，方知是宝玉。秦&lt;br /&gt;
钟连忙起来抱怨道：“这算什么？”宝玉道：“你倒不依？咱们就叫喊起起来。”羞的&lt;br /&gt;
智能趁暗中跑了。宝玉拉着秦钟出来道：“你可还和我强？”秦钟笑道：“好人，&lt;br /&gt;
你只别嚷的众人知道，你要怎样我都依你。”宝玉笑道：“这会子也不用说，等一&lt;br /&gt;
会睡下再细细的算帐。”一时宽衣安歇的时节，凤姐在里间，宝玉秦钟在外间，满&lt;br /&gt;
地下皆是家下婆子打铺坐更。凤姐因怕“通灵玉”失落，便等宝玉睡下，令人拿&lt;br /&gt;
来塞在自己枕边。宝玉不知与秦钟算何帐目，未见真切，此系疑案，不敢创纂。&lt;br /&gt;
一宿无语。&lt;br /&gt;
    &lt;br /&gt;
至次日一早，便有贾母王夫人打发了人来看宝玉，又命多穿两件衣服，无&lt;br /&gt;
事宁可回去。&lt;br /&gt;
&lt;br /&gt;
Who could have thought that under the cover of darkness with no one on the occasion, Clock Qin  come to see Sapientia. He found her on her own washing up teacups. putting his arms around her, he gave her a kiss. Sapientia stamped with rage:“What are you doing!” She would shout out, but Clock Qin spoke to her: “Sweetie, I want you so desperately! If you won’t let me, I’ll just die in here!”“If you want me,” said Sapientia, “you must first get me out of this hole and away from these people.”“That’s easy,” said Clock Qin. “But distant water is no cure for a present thirst.” And he blew out the light, and plunged the room into darkness, and carried Sapientia on to the kang. She struggled hard to get up, though still not proper to call out. Suddenly, a third person came in the room and fastened them without any sound. For some moments the other two were almost freak out until there was a suppressed laughter and they knew that it was Precious Jade. “What the hell are you doing?” complained Clock Qin as he got up. Precious Jade responded: “So you want to complain? Then I’ll call Out.”Poor Sapientia was so overcome with shame that she slipped away in the dark. Precious Jade hauled Clock Qin from the room. “Now,” he said: “are you still going to dispute with me?” “Look, bro, I’ll do anything you say as long as you promise to keep the secret.” “We won’t say about it just now,” said Precious Jade. “Wait until we are both in bed and I’ll settle accounts with you then.”Bedtime soon came and they’ve settled down for the night, Splendid Phoenix in an inner room and they in an outer room. And there were numerous old servants lay about everywhere on the floor wrapped up in their bedding. Splendid Phoenix was afraid that the ‘Magic Jade’ might disappear in the night; so until Precious Jade was in bed she asked someone to fetch it from him, and put it under her own pillow for safety. We have been unable to know exactly what Precious Jade asked; and as we would not for the world be guilty of fabrication, it’s a mystery. &lt;br /&gt;
&lt;br /&gt;
The next day someone arrived from Grandma Merchant and Lady King to see how Precious Jade was getting on; For there’s nothing matter, they only asked him to have two more clothes.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 09:34, 13 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Who could have thought that under the cover of darkness with no one on the occasion, Clock Qin  come to see Sapientia. He found her on her own washing up teacups. putting his arms around her, he gave her a kiss. Sapientia stamped with rage:“What are you doing!” She would shout out, but Clock Qin spoke to her: “Sweetie, I want you so desperately! If you won’t let me, I’ll just die in here!”“If you want me,” said Sapientia, “you must first get me out of this hole and away from these people.”“That’s easy,” said Clock Qin. “But distant water is no cure for a present thirst.” And he blew out the light, and plunged the room into darkness, and carried Sapientia on to the kang. She struggled hard to get up, though still not proper to call out. Suddenly, a third person came in the room and fastened them without any sound. For some moments the other two were almost freak out until there was a suppressed laughter and they knew that it was Precious Jade. “What are you doing?” complained Clock Qin as he got up. Precious Jade responded: “You don’t mind? Then I’ll call Out.”Poor Sapientia was so overcome with shame that she slipped away in the dark. Precious Jade hauled Clock Qin from the room. “Now,” he said: “are you still going to dispute with me?” “Bro, I’ll do anything you say as long as you promise to keep the secret.” “We won’t say about it just now,” said Precious Jade. “Wait until we are both in bed and I’ll settle accounts with you then.”Bedtime soon came and they’ve settled down for the night, Splendid Phoenix in an inner room and they in an outer room. And there were numerous old servants lay about everywhere on the floor wrapped up in their bedding. Splendid Phoenix was afraid that the “Magic Jade” might disappear in the night; so as soon as Precious Jade was in bed she asked someone to fetch it from him, and put it under her own pillow for safety. We have been unable to know exactly what Precious Jade asked; and as we would not for the world be guilty of a fabrication, it’s a mystery. &lt;br /&gt;
Next day someone arrived from Grandma Merchant and Lady King to see how Precious Jade was getting on; for there’s nothing matter, they only asked him to have two more clothes.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 10:34, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
宝玉那里肯回去？又有秦钟恋着智能，调唆宝玉求凤姐再住一&lt;br /&gt;
天。凤姐想了一想：丧仪大事虽妥，还有些小事未安排，可以借此再住一日，岂&lt;br /&gt;
不又在贾珍跟前送了满情，二则又可以完了净虚的那件事，三则顺了宝玉的心。&lt;br /&gt;
因有此三益，便向宝玉道：“我的事都完了。你要在这里逛，少不得越发辛苦了，&lt;br /&gt;
明儿是一定要走的了。”宝玉听说，千“姐姐”万“姐姐”的央求：“只住一日，明儿&lt;br /&gt;
必回去的。”于是又住了一夜。&lt;br /&gt;
    &lt;br /&gt;
凤姐便命悄悄将昨日老尼之事说与来旺儿，旺儿心中俱已明白，急忙进&lt;br /&gt;
城，找着主文的相公，假托贾琏所嘱，修书一封，连夜往长安县来。不过百里之&lt;br /&gt;
遥，两日工夫，俱已妥协。那节度使名唤云光，久悬贾府之情，这些小事，岂有不&lt;br /&gt;
允之理，给了回书，旺儿回来，不在话下。&lt;br /&gt;
    &lt;br /&gt;
且说凤姐等又过了一日，次日方别了老尼，着他三日后往府里去讨信。那&lt;br /&gt;
秦钟与智能，百般不忍分离，背地里多少幽期密约，俱不用细述，只得含恨而别。&lt;br /&gt;
凤姐又到铁槛寺中照望一番。宝珠执意不肯回家，贾珍只得派妇女相伴。且听&lt;br /&gt;
下回分解。&lt;br /&gt;
&lt;br /&gt;
Precious Jade did not want to go home. In addition, Bell Qin falls in love with Ability Wet and he instigated Precious Jade to beg for living another day there. Sister Phoenix considered that the most important affair about the funeral was finished but there were still some little things to arrange, so they could live for another day. There are three advantages. First, it helped to do favours at no great cost to Treasure Merchant. Second, Emptiness Quiet’s could be solved. Third, it obeyed Precious Jade’s will. Sister Phoenix told to Precious Jade that “My affairs were finished and solved. You hanging out here is adding to my painstaking. Tomorrow we should leave without negotiation. Hearing that, Precious Jade pleaded by calling her “sister” for thousands of times. “Just one day. Tomorrow must be the date to go back home,” Precious Jade said. Therefore, they lived there for another night.&lt;br /&gt;
Sister Phoenix ordered some one to tell the thing about the old Buddhist nun to Brightie. Brightie had known clearly and rushed to the downtown to find the minister in charge of the art. He lied that it was Vessel Merchant who ordered to write a letter and then he went to Chang’ an County overnight. Just one hundred miles and two days, the affair was dealt with well. The khrom named Cloudlight, who remembered the kindness of Jia mansion. So, such a little affair was easily dealt with. Cloudlight wrote a letter and let Brightie to bring back.&lt;br /&gt;
Sister Phoenix waited for another day and bid farewell to the old Buddhist nun the next day and asked her to go to Jia mansion to get the letter. Bell Qin and Ability Wet could not bear the pain of separation. How many secret meetings they had in privacy did not deserve narrating in detail. They had to say goodbye to each other in regret. Sister Phoenix went to Iron Sill Temple to visit Jewel. She was still unwilling to go back home, so Treasure Merchant had to send some maids to accompany her. Other stories would be analysed and explained below.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Precious Jade did not want to go home. In addition, Bell Qin falls in love with Ability Wet and he instigated Precious Jade to beg for living another day there. Splendid Phoenix considered that the most important affair about the funeral was finished, but there were still some little things to arrange, so they could live for another day. There are three advantages. First, it helped to do favours at no great cost to Treasure Merchant. Second, Emptiness Quiet’s could be solved. Third, it obeyed Precious Jade’s will. Sister Phoenix told Precious Jade that “My affairs were finished and solved. You hanging out here is adding to my painstaking. Tomorrow we should leave without negotiation. Hearing that, Precious Jade pleaded by calling her “sister” thousands of times. “Just one day. Tomorrow must be the date to go back home,” Precious Jade said. Therefore, they lived there for another night. Sister Phoenix ordered someone to tell the thing about the old Buddhist nun to Brightie. Brightie had known clearly and rushed downtown to find the minister in charge of the art. He lied that it was Vessel Merchant who ordered him to write a letter and then he went to Chang’an County overnight. Just one hundred miles and two days, the affair was dealt with well. The khrom named Cloudlight, who remembered the kindness of Jia mansion. So, such a little affair was easily dealt with. Cloudlight wrote a letter and let Brightie bring it back. Sister Phoenix waited for another day and bid farewell to the old Buddhist nun the next day and asked her to go to Jia mansion to get the letter. Bell Qin and Ability Wet could not bear the pain of separation. How many secret meetings they had in privacy did not deserve narrating in detail. They had to say goodbye to each other in regret. Sister Phoenix went to Iron Sill Temple to visit Jewel. She was still unwilling to go back home, so Treasure Merchant had to send some maids to accompany her. Other stories would be analysed and explained below.&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 06:26, 21 April 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Precious Jade did not want to go home. In addition, Bell Qin falls in love with Ability Wet and he instigated Precious Jade to beg for living another day there. Splendid Phoenix considered that the most important affair about the funeral was finished but there were still some little things to arrange, so they could live for another day. There are three advantages. First, it helped to do favours at no great cost to Cousin Zhen. Second, Emptiness Quiet’s could be solved. Third, it obeyed Precious Jade’s will. Sister Phoenix told to Precious Jade that “My affairs were finished and solved. You hanging out here is adding to my painstaking. Tomorrow we should leave without negotiation. Hearing that, Precious Jade pleaded by calling her “sister” for thousands of times. “Just one day. Tomorrow must be the date to go back home,” Precious Jade said. Therefore, they lived there for another night.&lt;br /&gt;
Splendid Phoenix ordered some one to tell the thing about the old Buddhist nun to Vigor. Vigor had known clearly and rushed to the downtown to find the minister in charge of the art. He lied that it was Fake Romance who ordered to write a letter and then he went to Chang’ an County overnight. Just one hundred miles and two days, the affair was dealt with well. The khrom named Cloudlight, who remembered the kindness of Jia mansion. So, such a little affair was easily dealt with. Cloudlight wrote a letter and let Vigor to bring back.&lt;br /&gt;
Splendid Phoenix waited for another day and bid farewell to the old Buddhist nun the next day and asked her to go to Jia mansion to get the letter. Bell Qin and Ability Wet could not bear the pain of separation. How many secret meetings they had in privacy did not deserve narrating in detail. They had to say goodbye to each other in regret. Splendid Phoenix went to Iron Sill Temple to visit Jewel. She was still unwilling to go back home, so Cousin Zhen had to send some maids to accompany her. Other stories would be analysed and explained below.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 14:26, 24 April 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210407_culture&amp;diff=123411</id>
		<title>20210407 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210407_culture&amp;diff=123411"/>
		<updated>2021-06-16T05:37:37Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Homework 6 from Apr 7 for Apr 14, 2021&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
'''《红楼梦》程甲本'''&lt;br /&gt;
&lt;br /&gt;
Please find the most beautiful translations of names and jointly agree to use them. Please also list common terms and joint translation here:&lt;br /&gt;
*Jia Baoyu = Precious Jade&lt;br /&gt;
*Jia Yucun = Rain Village&lt;br /&gt;
*Lin Daiyu = Mascara Jade&lt;br /&gt;
*Zhen Shiyin = Hide-the-facts&lt;br /&gt;
*...(everybody please add more here)&lt;br /&gt;
&lt;br /&gt;
=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
焦大益发连贾珍都说出来，乱嚷乱叫，说：“要往祠堂里哭太爷去，那里承望到如今生下这些畜生来！每日偷狗戏鸡，爬灰的爬灰，养小叔的养小叔子，我什么不知道？咱们‘胳膊折了往袖子里藏’！”众小厮见他说出来的话有天没日的，唬得魂飞魄丧，便把他捆起来，用土和马粪满满的填了他一嘴。&lt;br /&gt;
&lt;br /&gt;
凤姐和贾蓉也遥遥听得，都装作听不见。宝玉在车上听见，因问凤姐道：&lt;br /&gt;
“姐姐，你听他说‘爬灰的爬灰’，是什么？”凤姐连忙喝道：“少胡说！那是醉汉嘴里胡唚，你是什么样的人，不说没听见，还倒细问！等我回了太太，仔细捶你不捶你！”吓得宝玉连忙央告：“好姐姐，我再不敢说这些话了。”凤姐哄他道：“好兄弟，这才是。等回去咱们回了老太太，打发人家学里说明了，请了秦钟家学里念书去要紧。”说着自回荣府而来。要知端详，且听下回分解。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
◎第八回 贾宝玉奇缘识金锁  薛宝钗巧合认通灵&lt;br /&gt;
    &lt;br /&gt;
&lt;br /&gt;
话说宝玉和凤姐回家，见过众人，宝玉便回明贾母要秦钟上家塾之事，自己&lt;br /&gt;
也有个伴读的朋友，正好发愤；又着实称赞秦钟的人品行事，最使人怜爱。凤姐&lt;br /&gt;
又在一旁帮着说：“改日秦钟还来拜老祖宗哩。”说得贾母喜悦起来。凤姐又趁&lt;br /&gt;
势请贾母后日过去看戏。贾母虽年高，却极有兴头。至后日，尤氏来请，遂携了&lt;br /&gt;
王夫人、林黛玉、宝玉等过去看戏。至晌午，贾母便回来歇息了。王夫人本是好&lt;br /&gt;
清净的，见贾母回来，也就回来了。然后凤姐坐了首席，尽欢至晚而罢。&lt;br /&gt;
&lt;br /&gt;
Then he let loose a flood of abuse in which even Cousin Zhen was included. “Let me go to the Ancestral Temple and weep for my old master,” he fumed. &amp;quot;Little did he expect to beget such degenerates, a houseful of rutting dogs and bitches in heat, day in and day out scratching in the ashes and carrying on with younger brothers-in-law. Don’t think you can fool me. l only tried to hide the broken arm in your sleeve. These obscenities frightened the servants half out of their wits. Hurriedly trussing him up, they stuffed his mouth with mud and horse-dung.  Sister Phoenix and Jia Rong pretended not to have heard, whereas Precious Jade in the carriage was rather entertained by this drunken outburst. “Did you hear that, sister?&amp;quot; he asked. &amp;quot;What’s meant by scratching in the ashes&amp;quot;?&amp;quot; “Don’t talk nonsense,&amp;quot; snapped Sister Phoenix, glowering. &amp;quot;What' s come over you? You not only listen to drunken raving but have to ask questions too. Just wait until we get back and I tell your mother-you’ll pay for this with a thrashing.&amp;quot; &amp;quot;Dear sister,' apologized Precious Jade fearfully, &amp;quot;I promise not to do it again.&amp;quot; “That's more like it, brother. The important thing, once we 're home, is to talk to the old lady about sending you and your nephew Qin Bell to school.&amp;quot; They were back now in the Rong Mansion. To know what followed, turn to the next chapter.&lt;br /&gt;
Chapter 8 &lt;br /&gt;
After Sister Phoenix and Precious Jade reached home and had paid their greetings, Precious Jade told the Lady Dowager of Qin Bell’s eagerness to attend their clan school, and the incentive it would be for him to have a friend and companion in his studies. He painted a glowing picture of the other boy’s admirable character and lovable qualities. Sister Phoenix backed him up, adding, in a day or two Qin Bell will be coming to pay his respects to our Old Ancestress. She then took advantage of the old lady’s pleasure at this news to invite her to the opera in two days’ time. In spite of her age, the Lady Dowager looked forward to any excitement. When the day arrived and Madam You came to invite her, she took Lady Wang, Mascara Jade, Precious Jade and others along to watch the performances. At noon the old lady went home for her siesta. And Lady Wang, who liked peace and quiet, returned too after her mother-in-law’s departure. Then Sister Phoenix moved into the seat of honour and enjoyed herself to the full until the evening.&lt;br /&gt;
&lt;br /&gt;
Then he let loose a flood of abuse in which even Cousin Zhen was included. “Let me go to the Ancestral Temple and weep for my old master,” he fumed. &amp;quot;Little did he expect to beget such degenerates, a houseful of rutting dogs and bitches in heat, day in and day out scratching in the ashes and carrying on with younger brothers-in-law. Don’t think you can fool me. I just did not wash your dirty linen in public. These obscenities frightened the servants half out of their wits. Hurriedly trussing him up, they stuffed his mouth with mud and horse-dung.  Sister Phoenix and Jia Rong pretended not to have heard, whereas Precious Jade in the carriage was rather entertained by this drunken outburst. “Did you hear that, sister?&amp;quot; he asked. &amp;quot;What’s meant by affairs&amp;quot;?&amp;quot; “Don’t talk nonsense,&amp;quot; snapped Sister Phoenix, glowering. &amp;quot;What' s come over you? You not only listen to drunken raving but have to ask questions too. Just wait until we get back and I tell your mother-you’ll pay for this with a thrashing.&amp;quot; &amp;quot;Dear sister,' apologized Precious Jade fearfully, &amp;quot;I promise not to do it again.&amp;quot; “That's more like it, brother. The important thing, once we 're home, is to talk to the old lady about sending you and your nephew Qin Bell to school.&amp;quot; They were back now in the Rong Mansion. To know what followed, turn to the next chapter.&lt;br /&gt;
&lt;br /&gt;
Chapter 8  Precious Jade went to know the gold lock by chance&lt;br /&gt;
Precious hairpin met psychic jade accidentally &lt;br /&gt;
&lt;br /&gt;
After Sister Phoenix and Precious Jade reached home and had paid their greetings, Precious Jade told the Lady Dowager of Qin Bell’s eagerness to attend their clan school, and the incentive it would be for him to have a friend and companion in his studies. He painted a glowing picture of the other boy’s admirable character and lovable qualities. Sister Phoenix backed him up, adding: “in a day or two Qin Bell will be coming to pay his respects to our Old Ancestress.” She then took advantage of the old lady’s pleasure at this news to invite her to the opera in two days’ time. In spite of her age, the Lady Dowager looked forward to any excitement. When the day arrived and Madam You came to invite her, she took Lady Wang, Mascara Jade, Precious Jade and others along to watch the performances. At noon the old lady went home for her siesta. And Lady Wang, who liked peace and quiet, returned too after her mother-in-law’s departure. Then Sister Phoenix moved into the seat of honour and enjoyed herself to the full until evening.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 10:21, 14 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
却说宝玉送贾母回来，待贾母歇了中觉，竟欲还去看戏，又恐搅的秦氏等&lt;br /&gt;
人不便，因想起宝钗近日在家养病，未去亲候，意欲去望他。若从上房后角门过&lt;br /&gt;
去，又恐遇见别事缠绕，又恐遇他父亲，更为不妥，宁可绕远路而去。当下众嬷&lt;br /&gt;
嬷丫鬟伺候他换衣服，见不换，仍出二门去了；众嬷嬷丫鬟只得跟随出来，还只&lt;br /&gt;
当他去那边府中看戏。谁知到了穿堂，便向东向北绕厅后而去。偏顶头遇见了&lt;br /&gt;
门下清客相公詹光、单聘仁二人走来，一见了宝玉，便都赶上来笑着，一个抱住&lt;br /&gt;
腰，一个携着手，都道：“我的菩萨哥儿！我说做了好梦呢，好容易遇见了你。”说着，请了安，又问好，又唠叨了半日，才走开。老嬷嬷叫住，因问：“你二位爷是往老爷跟前来的不是？”他二人点头道：“老爷在梦坡斋小书房里歇中觉呢，不妨事的。”一面说，一面走了。&lt;br /&gt;
    &lt;br /&gt;
说的宝玉也笑了，于是转弯向北奔梨香院来。可巧银库房的总领名唤吴&lt;br /&gt;
新登与仓上的头目名戴良，还有几个管事的头目，共七个人，从账房里出来，一&lt;br /&gt;
见宝玉，赶来都一齐垂手站立；独有一个买办，名唤钱华，因他多日未见宝玉，忙上来打千儿请宝玉的安，宝玉忙含笑拉他起来。众人都笑说：“前儿在一处看&lt;br /&gt;
见二爷写的斗方儿，字法越发好了，多早晚赏我们几张贴贴。”宝玉笑道：“在那处看见了？”众人道：“好几处都有，都称赞的了不得，还和我们寻呢。”宝玉笑道：“不值什么，你们说给我的小么儿们就是了。”一面说，一面前走，众人待他过去，方都各自散了。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
After Precious Jade accompanied Granny Merchant back home, he would like to watch the show, but he was unwilling to disturb Miss Qin and her friends. He remembered that Precious Luisia was staying at home with illness; having not come to visit her in person before, he decided to do it now.&lt;br /&gt;
He preferred to go through another way rather than the door at the corner of the room facing east, for fear of accidents as well as his father.&lt;br /&gt;
Attendants were going to dress him now, but he went out the door and refused them. They had to follow him, guessing that he was going to watch the show.&lt;br /&gt;
It surprised them when he went across the hall and to the north-eastern direction.&lt;br /&gt;
Precious Jade narrowly ran into Sophisticated Liar and Advantage Seeker, two retainers in the mansion. They were eager to show their enthusiasm, running to Precious Jade and smiling once seeing him. One wrapped his waist while another joined one of his hand, and both said: “ my honored friend, what a fortune it is to see you here.”&lt;br /&gt;
Then, they paid sincere respect to him and chattered for a long time; finally, they decided to leave.&lt;br /&gt;
However, an old attendant stopped them and asked: “ are you coming to visit our master?”&lt;br /&gt;
They nodded: “the master are having a noon break in his Dreaming-Su Dongpo study, and it doesn’t matter.” They walked away as they were saying. &lt;br /&gt;
Precious Jade was amused by them and turned to the pear-smelling courtyard in （要加the吗？） north direction.&lt;br /&gt;
No Scale, the manager of money warehouse and Dai Liang, master of the barn as well as several other managers, up to seven people, walked out from the counting room; once seeing Precious Jade, they raised their hands straightly in front of their breast.&lt;br /&gt;
Spending Money, a Comprador, went down on his knee to pay his respect to Precious Jade because he had not seen Precious Jade for a long time; Precious Jade lifted him up instantly.&lt;br /&gt;
They said, smiling: “we have seen a piece of paper written by you several days ago and we really appreciate your improved handwriting. Can you present some as gifts to us?”&lt;br /&gt;
Precious Jade laughed: “where did you see it?” They answered: “we and other persons have seen your handwriting in some other places; we praised all of your handwriting highly and asked each other some of your handwriting.”&lt;br /&gt;
Precious Jade smiled: “ it is not very precious, and you can turn to my attendants for some.” He walked away as he was speaking. People were dismissed soon after his leave.&lt;br /&gt;
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After Precious Jade accompanied Granny Merchant back home, he would like to watch the show as Granny Merchant has slept, but he was unwilling to disturb Miss Qin and other families. He remembered that Precious Luisia was staying at home with illness; having not come to visit her in person before, he decided to do it now. He preferred to go through another way rather than the door at the corner of the room facing east, for fear of accidents as well as his father. Attendants were going to dress him now, but he went out the door and refused them. They had to follow him, guessing that he was going to watch the show. It surprised them when he went across the hall and to the north-eastern direction. Precious Jade narrowly ran into Sophisticated Liar and Advantage Seeker, two retainers in the mansion. They were eager to show their enthusiasm, running to Precious Jade and smiling once seeing him. One wrapped his waist while another joined one of his hand, and both said: “ my honored friend, what a fortune it is to see you here.” Then, they paid sincere respect to him and chattered for a long time; finally, they decided to leave. However, an old attendant stopped them and asked: “ Are you coming to visit our master?” They nodded: “the master are having a noon break in his Dreaming-Su Dongpo study, and it doesn’t matter.” They walked away as they were saying. Precious Jade was amused by them and turned to the pear-smelling courtyard in the north direction. No Scale, the manager of money warehouse and Dai Liang, master of the barn as well as several other managers, up to seven people, walked out from the counting room; once seeing Precious Jade, they laid down their hands standing there. Spending Money, a Comprador, went down on his knee to pay his respect to Precious Jade because he had not seen Precious Jade for a long time; Precious Jade lifted him up instantly with smile. They said, smiling: “we have seen a piece of paper written by you several days ago and we really appreciate your improved handwriting. Can you present some as gifts to us?” Precious Jade laughed: “Where did you see it?” They answered: “we saw it in several places; we praised all of your handwriting highly and sought it together for some time.” Precious Jade smiled: “It is not that precious, and you can turn to my attendants for some.” He walked away as he was speaking. People were dismissed soon after his leave.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 03:26, 14 April 2021 (UTC)&lt;br /&gt;
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After Precious Jade accompanied Grandma Merchant back home, he would like to watch the show, but he was unwilling to disturb Miss Qin and her friends. He remembered that Precious Hairpin was staying at home with illness; having not come to visit her in person before, he decided to do it now.&lt;br /&gt;
He preferred to take a detour rather than the improper way through the door at the corner of the room facing east, for fear of encountering accidents as well as his father.&lt;br /&gt;
Attendants waited on him for dressing, but he went out of the door and refused. They had to follow him, guessing that he was going to watch the show.&lt;br /&gt;
It surprised them when he went across the hall and to the north-eastern direction.&lt;br /&gt;
Precious Jade narrowly ran into Sophisticated Liar and Advantage Seeker, two retainers in the mansion. They were eager to show their enthusiasm, running to Precious Jade with smiles once they saw him. One wrapped his waist while another joined one of his hand, and both said: “ my honored friend, what a fortune it is to see you here.”&lt;br /&gt;
Then, they paid sincere respect to him and chattered for a long time; finally, they decided to leave.&lt;br /&gt;
However, an old attendant stopped them and asked: “ Are you coming to visit our master?”&lt;br /&gt;
They nodded: “the master are having a noon break in his Dreaming-Su Dongpo study, and it doesn’t matter.” They walked away while replying. &lt;br /&gt;
Precious Jade was amused by them and turned to the pear-smelling courtyard in north direction.&lt;br /&gt;
No Scale, the manager of money warehouse and Dai Good, the master of the barn as well as several other managers, up to seven people, walked out from the counting room; once seeing Precious Jade, they raised their hands straightly in front of their breast.&lt;br /&gt;
Spending Money, a Comprador, went down on his knee to pay his respect to Precious Jade because he had not seen Precious Jade for a long time; Precious Jade lifted him up instantly.&lt;br /&gt;
They said, smiling: “we have seen a piece of paper written by you several days ago and we really appreciate your improved handwriting. Can you present some as gifts to us?”&lt;br /&gt;
Precious Jade laughed: “where did you see it?” They answered: “we and other persons have seen your handwriting in some other places; we praised all of your handwriting highly and asked each other some of your handwriting.”&lt;br /&gt;
Precious Jade smiled: “ it is not very precious, and you can turn to my attendants for some.” He walked away as he was speaking. People were dismissed soon after his leave.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 08:04, 4 June 2021 (UTC)&lt;br /&gt;
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=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
闲言少述，且说宝玉来至梨香院中，先人薛姨妈屋中来，见薛姨妈打点针&lt;br /&gt;
黹与丫鬟们呢。宝玉忙请了安，薛姨妈一把拉住了他，抱入怀中笑说：“这么冷&lt;br /&gt;
天，我的儿！难为你想着来，快上炕来坐着罢。”命人倒滚滚的茶来。宝玉因问：&lt;br /&gt;
“哥哥不在家？”薛姨妈叹道：“他是没笼头的马，天天逛不了，那里肯在家一&lt;br /&gt;
日？”宝玉道：“姐姐可大安了？”薛姨妈道：“可是呢，你前儿又想着打发人来瞧他。他在里间不是，你去瞧。他那里比这里暖和，你那里坐着，我收拾收抬就进来和你说话儿。”&lt;br /&gt;
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宝玉听了，忙下炕来至里间门前，只见吊着半旧的红绸软帘。宝玉掀帘一&lt;br /&gt;
步进去，先就看见宝钗坐在炕上作针线，头上挽着黑漆油光的纂儿，蜜台色的棉&lt;br /&gt;
袄，玫瑰紫二色金银鼠比肩褂，葱黄绫于棉裙，一色儿半新不旧，看去不觉奢华。&lt;br /&gt;
唇不点而红，眉不画而翠，脸若银盆，眼如水杏。罕言寡语，人谓装愚；安分随&lt;br /&gt;
时，自云“守拙”。&lt;br /&gt;
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宝玉一面看，一面问：“姐姐可大愈了？”“宝钗抬头只见宝玉进来，连忙起身&lt;br /&gt;
含笑答道：“已经大好了，多谢记挂着。”说着，让他在炕沿上坐了，即令莺儿倒茶来，一面又问老太太姨娘安，又问别的姊妹们好；一面看宝玉头上戴着累丝嵌宝紫金冠，额上勒着二龙捧珠金抹额，身上穿着秋香色立蟒白孤腋箭袖，系着五色蝴蝶鸾绦，项上挂着长命锁、记名符，另外有那一块落草时衔下来的宝玉。宝钗因笑说道：“成日家说你的这玉，究竟未曾细细的赏鉴，我今儿倒要瞧瞧。”&lt;br /&gt;
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No more words for the inessential things. Precious Jade came to the Pear Fragrance Court and visited Auntie Xue first, at the time she was arranging needlework to the servant girls. Precious Jade quickly went down on one knee in salute, and Auntie pulled him into her arms and smiled: “I really appreciate that you could come here to visit me in such a cold day, come and sit on the stove-couch.” Then she asked the servants to served him with hot tea. Precious Jade inquired: “Isn’t brother at home?” “He is just a horse without a halter,” Auntie Xue sighed, “he’s forever rushing around outside, let alone stay at home for only one day.” Precious Jade continued to ask: “Does sister feel better now?” Auntie said: “As you think, it has much better. The day before yesterday you required servants to hear about her news, and now you can watch her in your own at the inner room. Where she stays is much warm er than here. You just need to go there, and I will come in later to chat with you with the clothes settled.”&lt;br /&gt;
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Hearing that, Precious Jade hurriedly came down to the ground and went towards the gateway of the inner room, which suspended half-old soft curtain made by red silks. He opened the curtain and walked in and Precious Hairpin came in his eyes in advance. She was sitting on the stove-couch needling, with black hair shining like the light of oil, a honey-colored wadded robe, a rose-brown short-sleeved jacket with gold and silver fur of the squirrel and leek-yellow silk on the cotton-made dress. Her costume was neither too new nor too old and displayed no sign of extravagance. Her lips, without rouging, were red naturally; her eyebrows, without penciling, were verdant attractively. Her face was like a silver basin, and her eyes were juicy plums. She talked little, be evaluated as pretending to be fool; she behaved well, naming herself as “keeping simplicity”.&lt;br /&gt;
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As Precious Jade gazed at her, he inquired: “How are you feeling well?” Raising her head, Precious Hairpin got up at once seeing him walking in and smiled: “I’ve healed a lot. Thanks for your kindness in thinking of me.” Uttering this, she invited Precious Jade to take a seat on the stove-couch. Then she told Oriole to serve tea for him, asking for the situation of other sisters and sending greetings to Granny Merchant and Aunties. At the same time saying this, she scrutinized Precious Jade, who wore a head-dress of purplish-gold twisted threads, a gold circlet representing two dragons clasping a pearl, a light yellow archery-sleeved jacket with rampant dragons, fur from the ribs of the silver fox and dark sash embroidered with different colored butterflies. Round his neck hung an amulet, consisting of a clasp of longevity, and in addition, the precious jade which he had had in his mouth at the time of his birth. “I've heard everyone speaking of this jade,” said Precious Hairpin with a smile, “but haven't had an opportunity to look at it closely. So today I must see it carefully.”&lt;br /&gt;
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No more words for the inessential things.Upon reaching Pear Fragrance Court, Precious Jade visited Aunt Xue first, whom he found distributing sewing to her maids.Precious Jade paid his respects to his aunt, and Auntie pulled him into her arms and beamed: “I really appreciate that you could come here to visit me in such a cold day, come and sit on the stove-couch.” Then she asked the servants to served him with hot tea. Precious Jade inquired: “Isn’t brother at home?” “He is just a horse without a halter,” Auntie Xue sighed, “he’s forever rushing around outside, let alone stay at home for only one day.” Precious Jade continued to ask: “Does sister feel better now?” Auntie said: “As you think, it has much better. The day before yesterday you required servants to hear about her news, and now you can watch her in your own at the inner room. Where she stays is much warm er than here. You just need to go there, and I will come in later to chat with you with the clothes settled.”&lt;br /&gt;
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Hearing that, Precious Jade hurriedly came down to the ground and went towards the gateway of the inner room, which suspended half-old soft curtain made by red silks. He opened the curtain and walked in and Precious Hairpin came in his eyes in advance. She was sitting on the stove-couch needling, with black hair shining like the light of oil, a honey-colored wadded robe, a rose-brown short-sleeved jacket with gold and silver fur of the squirrel and leek-yellow silk on the cotton-made dress. Her costume was neither too new nor too old and displayed no sign of extravagance. Her lips, without rouging, were red naturally; her eyebrows, without penciling, were verdant attractively. Her face was like a silver basin, and her eyes were juicy plums. She talked little, be evaluated as pretending to be fool; she behaved well, naming herself as “keeping simplicity”.&lt;br /&gt;
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As Precious Jade gazed at her, he inquired: “How are you feeling well?” Raising her head, Precious Hairpin got up at once seeing him walking in and smiled: “I’ve healed a lot. Thanks for your kindness in thinking of me.” Uttering this, she invited Precious Jade to take a seat on the stove-couch. Then she told Oriole to serve tea for him, asking for the situation of other sisters and sending greetings to Granny Merchant and Aunties. At the same time saying this, she scrutinized Precious Jade, who wore a head-dress of purplish-gold twisted threads, a gold circlet representing two dragons clasping a pearl, a light yellow archery-sleeved jacket with rampant dragons, fur from the ribs of the silver fox and dark sash embroidered with different colored butterflies. Round his neck hung an amulet, consisting of a clasp of longevity, and in addition, the precious jade which he had had in his mouth at the time of his birth. “I've heard everyone speaking of this jade,” said Precious Hairpin with a smile, “but haven't had an opportunity to look at it closely. So today I must see it carefully.”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 07:25, 14 April 2021 (UTC)&lt;br /&gt;
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No more words for the inessential things.Upon reaching Pear Fragrance Court, Precious Jade visited Aunt Marshgrass first, whom he found distributing sewing to her maids.Precious Jade paid his respects to his aunt, and Auntie pulled him into her arms and beamed: &amp;quot;I really appreciate that you could come here to visit me in such a cold day, come and sit on the stove-couch.&amp;quot; Then she asked the servants to served him with hot tea. Precious Jade inquired: &amp;quot;Isn't brother at home?&amp;quot; &amp;quot;He is just a horse without a halter,&amp;quot; Aunt Marshgrass sighed, &amp;quot;he's forever rushing around outside, let alone stay at home for only one day.&amp;quot; Precious Jade continued to ask: &amp;quot;Does sister feel better now?&amp;quot; Auntie said: &amp;quot;As you think, it has much better. The day before yesterday you required servants to hear about her news, and now you can watch her in your own at the inner room. Where she stays is much warmer than here. You just need to go there, and I will come in later to chat with you with the clothes settled.&amp;quot;&lt;br /&gt;
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Hearing that, Precious Jade hurriedly came down to the ground and went towards the gateway of the inner room, which suspended half-old soft curtain made by red silks. He opened the curtain and walked in and Precious Hairpin came in his eyes in advance. She was sitting on the stove-couch needling, with black hair shining like the light of oil, a honey-colored wadded robe, a rose-brown short-sleeved jacket with gold and silver fur of the squirrel and leek-yellow silk on the cotton-made dress. Her costume was neither too new nor too old and displayed no sign of extravagance. Her lips, without rouging, were red naturally; her eyebrows, without penciling, were verdant attractively. Her face was like a silver basin, and her eyes were juicy plums. She talked little, be evaluated as pretending to be fool; she behaved well, naming herself as &amp;quot;keeping simplicity.&amp;quot;&lt;br /&gt;
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As Precious Jade gazed at her, he inquired: &amp;quot;How are you feeling well?&amp;quot; Raising her head, Precious Hairpin got up at once seeing him walking in and smiled: &amp;quot;I've healed a lot. Thanks for your kindness in thinking of me.&amp;quot; Uttering this, she invited Precious Jade to take a seat on the stove-couch. Then she told Maid Oriole to serve tea for him, asking for the situation of other sisters and sending greetings to Grandma Merchant and Aunties. At the same time saying this, she scrutinized Precious Jade, who wore a head-dress of purplish-gold twisted threads, a gold circlet representing two dragons clasping a pearl, a light yellow archery-sleeved jacket with rampant dragons, fur from the ribs of the silver fox and dark sash embroidered with different colored butterflies. Round his neck hung an amulet, consisting of a clasp of longevity, and in addition, the precious jade which he had had in his mouth at the time of his birth. &amp;quot;I've heard everyone speaking of this jade,&amp;quot; said Precious Hairpin with a smile, &amp;quot;but haven't had an opportunity to look at it closely. So today I must see it carefully.&amp;quot;--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 08:41, 8 June 2021 (UTC)&lt;br /&gt;
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=Dèng Dān 邓丹=&lt;br /&gt;
说着便挪近前来。宝玉亦凑上去，从项上摘了下来，递在宝钗手内。宝钗托在掌上，只见大如雀卵，灿若明霞，莹润如酥，五色花纹缠护。看官们须知道，这就是大荒山中青埂峰下的那块顽石幻相，后人曾有诗嘲云：&lt;br /&gt;
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女娲炼石已荒唐，又向荒唐演大荒。失去幽灵真境界，幻来新就臭皮&lt;br /&gt;
囊。好知运败金无彩，堪叹时乖玉不光。白骨如山忘姓氏，无非公子与红&lt;br /&gt;
妆。 &lt;br /&gt;
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那顽石亦曾记下他这幻相并癞僧所镌的篆文，今亦按图画于后，但其真体最小，&lt;br /&gt;
方从胎中小儿口中衔下。今若按其体画，恐字迹过于微细，使观者大废眼光，亦&lt;br /&gt;
非畅事。故按其形式，无非略展放些，使观者便于灯下醉中可阅。今注明此故，&lt;br /&gt;
方不至以胎中之儿口有多大，怎得衔此狼犺蠢大之物为谤。&lt;br /&gt;
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宝钗看毕，又从先翻过正面来细看，口里念道：“莫失莫忘，仙寿恒昌。”念了&lt;br /&gt;
两遍，乃回头向莺儿笑道：“你不去倒茶，也在这里发呆作什么？”莺儿嘻嘻的笑道：“我听这两句话，倒像和姑娘项圈上的两句话是一对儿。”宝玉听了，忙笑道：“原来姐姐那项圈上也有八个字？我也赏鉴赏鉴。”宝钗道：“你别听他的话，没有什么字。”宝玉央道：“好姐姐，你怎么瞧我的呢！”宝钗被他缠不过，因说道：“也是个人给了两句吉利话儿，錾上了，所以天天带着；不然沉甸甸的，有什么趣儿？”一面说，一面解了排扣，从里面大红袄上将那珠宝晶莹、黄金灿烂的璎珞摘将出来。&lt;br /&gt;
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Baoyu leaned forward too, and taking the stone from his neck laid it in her hand.She held it on her palm. It was the size of a sparrow’s egg, iridescent as clouds at sunrise, smooth as junket, and covered with coloured lines.This was the form taken by the stupid Stone from the foot of Blue Ridge Peak in Great Waste Mountain. A later poet wrote these mocking lines:Fantastic, Nu Wa’s smelting of the stone,Now comes fresh fantasy from the Great Waste;The Stone’s true sphere and spirit lost,It takes a new form stinking and debased.Know that when fortune frowns, pure gold is dulled,And jade, in evil times, will cease to shine;Heaped high the white bones of the nameless dead,Who in their day were lords and ladies fine.The stupid Stone had also recorded its transformation and below we shall reproduce the seal characters engraved on it by the scabby monk.As the jade was small enough to be held in the mouth of a new-born child, if we were to reproduce the real size of the characters they would be so minute that our readers would find them a troublesome strain on their eyes.We are therefore enlarging them to scale to enable readers to study them by lamplight or even in their cups. This point is made clear so that nobody may sneer, “How big a mouth could an infant in the womb have, to hold this clumsy object!” After examining both sides Baochai turned the jade over to study the face more closely and read the inscription aloud, not once but twice. Then she turned to ask Yinger: “Why are you standing gaping there instead of getting us tea?”Yinger answered with a giggle, “Those two lines seem to match the words on your locket, miss.”Why, cousin,” cried Baoyu eagerly, “does that locket of yours have an inscription too? Do let me see it.”“Don’t listen to her,” replied Baochai. “There aren’t any characters on it.”“I let you see mine, dear cousin,” he countered coaxingly.Cornered like this, Baochai answered, “As it happens, there is a lucky inscription on it. Otherwise I wouldn’t wear such a clumsy thing all the time.”She unbuttoned her red jacket and drew out a bright gold necklace studded with glittering pearls and jewels.&lt;br /&gt;
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Precious Jade leaned forward too, and taking the stone from his neck laid it in Precious Hairpin's hand.She held it on her palm. It was the size of a sparrow’s egg, iridescent as clouds at sunrise, smooth as junket, and covered with coloured lines.This was the form taken by the stupid Stone from the foot of Blue Ridge Peak in Great Waste Mountain. A later poet wrote these mocking lines:Fantastic, Nu Wa’s smelting of the stone,Now comes fresh fantasy from the Great Waste;The Stone’s true sphere and spirit lost,It takes a new form stinking and debased.Know that when fortune frowns, pure gold is dulled,And jade, in evil times, will cease to shine;Heaped high the white bones of the nameless dead,Who in their day were lords and ladies fine.The stupid Stone had also recorded its transformation and below we shall reproduce the seal characters engraved on it by the scabby monk.As the jade was small enough to be held in the mouth of a new-born child, if we were to reproduce the real size of the characters they would be so minute that our readers would find them a troublesome strain on their eyes.We are therefore enlarging them to scale to enable readers to study them by lamplight or even in their cups. This point is made clear so that nobody may sneer, “How big a mouth could an infant in the womb have, to hold this clumsy object!” After examining both sides Precious Hairpin turned the jade over to study the face more closely and read the inscription aloud, not once but twice. Then she turned to ask Maid Oriole: “Why are you standing gaping there instead of getting us tea?”Maid Oriole answered with a giggle, “Those two lines seem to match the words on your locket, miss.”Why, cousin,” cried Precious Jade eagerly, “does that locket of yours have an inscription too? Do let me see it.”“Don’t listen to her,” replied Precious Hairpin. “There aren’t any characters on it.”“I let you see mine, dear cousin,” he countered coaxingly.Cornered like this, Precious Hairpin answered, “As it happens, there is a lucky inscription on it. Otherwise I wouldn’t wear such a clumsy thing all the time.”She unbuttoned her red jacket and drew out a bright gold necklace studded with glittering pearls and jewels.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 16:16, 27 April 2021 (UTC)&lt;br /&gt;
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Precious Jade leaned forward too, took the stone from his neck and laid it in her hand. Precious Hairpin held it on her palm. It was the size of a sparrow’s egg, iridescent as clouds at sunrise, smooth as junket, and covered with coloured lines. This was the form taken by the stupid Stone from the foot of Blue Ridge Peak in Great Waste Mountain. A later poet wrote these mocking lines: Fantastic, Nü Wa’s smelting of the stone,Now comes fresh fantasy from the Great Waste; The Stone’s true sphere and spirit lost,It takes a new form stinking and debased. Know that when fortune frowns, pure gold is dulled,And jade, in evil times, will cease to shine; Heaped high the white bones of the nameless dead,Who in their day were lords and ladies fine. The stupid Stone had also recorded its transformation and below we shall reproduce the seal characters engraved on it by the scabby monk.As the jade was small enough to be held in the mouth of a new-born child, if we were to reproduce the real size of the characters they would be so minute that our readers would find them a troublesome strain on their eyes.We are therefore enlarging them to scale to enable readers to study them by lamplight or even in their cups. This point is made clear so that nobody may sneer, “How big a mouth could an infant in the womb have, to hold this clumsy object!” After examining both sides Baochai turned the jade over to study the face more closely and read the inscription aloud, not once but twice. Then she turned to ask Yinger: “Why are you standing gaping there instead of getting us tea?” Yinger answered with a giggle, “Those two lines seem to match the words on your locket, miss. ”Why, cousin,” cried Precious Jade eagerly, “does that locket of yours have an inscription too? Do let me see it.”“Don’t listen to her,” replied Baochai. “There aren’t any characters on it.”“I let you see mine, dear cousin,” he countered coaxingly.Cornered like this, Baochai answered, “As it happens, there is a lucky inscription on it. Otherwise I wouldn’t wear such a clumsy thing all the time.”She unbuttoned her red jacket and drew out a bright gold necklace studded with glittering pearls and jewels.&lt;br /&gt;
&lt;br /&gt;
This point is made clear so that nobody may sneer, “How big a mouth could an infant in the womb have, to hold this clumsy object!” After examining both sides Baochai turned the jade over to study the face more closely and read the inscription aloud, not once but twice. Then she turned to ask Yinger: “Why are you standing gaping there instead of getting us tea?”Yinger answered with a giggle, “Those two lines seem to match the words on your locket, miss.”Why, cousin,” cried Baoyu eagerly, “does that locket of yours have an inscription too? Do let me see it.”“Don’t listen to her,” replied Baochai. “There aren’t any characters on it.”“I let you see mine, dear cousin,” he countered coaxingly.Cornered like this, Baochai answered, “As it happens, there is a lucky inscription on it. Otherwise I wouldn’t wear such a clumsy thing all the time.”She unbuttoned her red jacket and drew out a bright gold necklace studded with glittering pearls and jewels.&lt;br /&gt;
Precious Jade leaned forward too, took the stone from his neck and laid it in her hand. Precious Hairpin held it on her palm. It was the size of a sparrow’s egg, iridescent as clouds at sunrise, smooth as junket, and covered with coloured lines. This was the form taken by the stupid Stone from the foot of Blue Ridge Peak in Great Waste Mountain. A later poet wrote these mocking lines: Fantastic, Nü Wa’s smelting of the stone,Now comes fresh fantasy from the Great Waste; The Stone’s true sphere and spirit lost,It takes a new form stinking and debased.--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 08:20, 14 April 2021 (UTC)Ding Zhongxia&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
宝玉忙托着锁看时，果然一面有四个字，两面八个字，共成两句吉&lt;br /&gt;
谶。——亦曾按式画下形相：&lt;br /&gt;
&lt;br /&gt;
宝玉看了，也念了两遍，又念自己的两遍，因笑问：“姐姐，这八个字倒与我的是一对儿。”莺儿笑道：“是个癞头和尚送的，他说必须錾在金器上……”宝钗不待他说完，便嗔他不去倒茶，一面又问宝玉从那里来。&lt;br /&gt;
    &lt;br /&gt;
宝玉此时与宝钗就近，只闻一阵阵的香气，不知是何气味，遂问：“姐姐熏&lt;br /&gt;
的是何香？我竟从未闻过这味儿。”宝钗笑道：“我最怕熏香，好好的衣服，熏的烟火气的？”宝玉道：“既如此，是什么香？”宝钗想了一想，说：“是了，是我早起吃了冷香丸的香气。”宝玉笑道：“什么‘冷香丸’，这么好闻？好姐姐，给我一丸尝尝。”宝钗笑道：“又混闹了，一个丸药也是混吃的？”&lt;br /&gt;
    &lt;br /&gt;
一语未了，忽听外面人说：“林姑娘来了。”话犹未了，林黛玉已摇摇摆摆的&lt;br /&gt;
来了，一见宝玉，便笑道：“哎哟！我来的不巧了。”宝玉等忙起身让坐，宝钗因笑道：“这话怎么说？”黛玉道：“早知他来，我就不来了。”宝钗道：“我不解这意？”黛玉笑道：“要来时一齐来，要不来一个也不来；今儿他来，明儿我来，如此间错开了来，岂不天天有人来了？也不至太冷落，也不至太热闹。姐姐如何不解这意思？”&lt;br /&gt;
    &lt;br /&gt;
宝玉因见他外面罩着大红羽缎对襟褂子，因问：“下雪了么？”地下婆子们&lt;br /&gt;
说：“下了这半日了。”宝玉道：“取了我的斗篷来。”&lt;br /&gt;
&lt;br /&gt;
Precious Jade took the locket eagerly and found two inscriptions, one on either side, in the form of eight minute characters.&lt;br /&gt;
Precious Jade read this twice, then twice repeated his own. “Why, cousin, this inscription of yours matches mine exactly,” he declared laughingly.&lt;br /&gt;
“It was given her by a scabby monk,” explained Yinger. “He said it must be engraved on something made of gold.”&lt;br /&gt;
Before she could say more Baochai called her to task for not bringing them some tea. Then she asked Precious Jade where he had come from.&lt;br /&gt;
He was now close enough to her to catch whiffs of some cool, sweet fragrance which he could not identify. &lt;br /&gt;
“What incense do you use to scent your clothes with?” he asked. “I’ve never “I’ve never smelt this perfume before.”&lt;br /&gt;
“I don’t like incense perfumes. They just make good clothes reek of smoke.”&lt;br /&gt;
“What is that perfume, then?” Baochai thought for a moment. “I know. It must be the pill I took this morning.”&lt;br /&gt;
“What pills smell so good? Won’t you give me one to try?”&lt;br /&gt;
“Don’t be silly!” She laughed. “You don’t take medicine for the fun of it.”&lt;br /&gt;
And in came Massacare. “Ah!” she exclaimed at sight of Precious Jade&lt;br /&gt;
Just then a servant outside announced, “Miss Lin is here.”. “I’ve chosen a bad time to come.”&lt;br /&gt;
Precious Jade rose with a smile to offer her a seat while Baochai asked cheerfully, “What do you mean?”&lt;br /&gt;
“If I’d known he was here, I wouldn’t have come.”&lt;br /&gt;
“That’s more puzzling than ever,” said Baochai.&lt;br /&gt;
“Either everybody comes at once or no one comes,” explained Massacare Jade mischievously. “If he came one day and I the next, spacing out our visits, you’d have callers every day and would find it neither too lonely nor too distracting. What’s so puzzling about that, cousin?”&lt;br /&gt;
Precious Jade saw that she was wearing a crimson camlet cloak which buttoned in front. “Is it snowing outside?” he asked.&lt;br /&gt;
“It’s been hailing for some time,” replied the maids.“Have they brought my cape?”&lt;br /&gt;
&lt;br /&gt;
He was now close enough to her to catch whiffs of some cool, sweet fragrance which he could not notice. &lt;br /&gt;
“What incense do you use to scent your clothes with?” he asked. “I’ve never “I’ve never smelt this perfume before.”&lt;br /&gt;
“I don’t like incense perfumes. They just make good clothes reek of smoke.”&lt;br /&gt;
“What is that perfume, then?” Baochai thought for a moment. “I know. It must be the pill I took this morning.”&lt;br /&gt;
“What pills smell so good? Won’t you give me one to try?”&lt;br /&gt;
“Don’t be silly!” She laughed. “You don’t take medicine for the fun of it.”&lt;br /&gt;
And in came Massacare. “Ah!” she exclaimed at sight of Precious Jade&lt;br /&gt;
Just then a servant outside announced, “Miss Lin is here.”. “I’ve chosen a bad time to come.”&lt;br /&gt;
Precious Jade rose with a smile to offer her a seat while Baochai asked cheerfully, “What do you mean?”&lt;br /&gt;
“If I’d known he was here, I will not come.”&lt;br /&gt;
--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 08:19, 9 June 2021 (UTC)Ding Zhongxia&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
黛玉便笑道：“是不是？我来了他就该去了。”宝玉道：“我何曾说要去？不过拿来预备着。”宝玉的奶母嬷嬷因说道：“天又下雪，也要看早晚的，就在这里和姐姐妹妹一处玩玩罢。姨妈那里摆茶果呢。我叫丫头去取了斗篷来，说给小么儿们散了罢。”宝玉应了。李嬷嬷出来，命小厮们：“都散了。”&lt;br /&gt;
    &lt;br /&gt;
这里薛姨妈已摆了几样细巧茶果，留他们吃茶。宝玉因夸前日在那边府&lt;br /&gt;
里珍大嫂子的好鹅掌鸭信。薛姨妈连忙把自己糟的取来与他尝。宝玉笑道：&lt;br /&gt;
“这个须就酒方好。”薛姨妈使命人灌了上等的酒来。李嬷嬷便上来道：“姨太&lt;br /&gt;
太，酒倒罢了。”宝玉笑央道：“妈妈，我只吃一杯。”李妈道：“不中用，当着老太太、太太，那怕你吃一坛呢。想那日我眼错不见一会，不知是那个没调教的，只图讨你的好，给了你一口酒吃，葬送得我挨了两日的骂。姨太太不知他性子又可恶，吃了酒更弄性。有一日老太太高兴，又尽着他吃，什么日子又不许他吃，何苦我白赔在里面？”薛姨妈笑道：“老货，只管放心吃你的去！我也不许他吃多了。便是老太太问，有我呢。”一面命小丫头：“来，让你奶奶去也吃杯搪搪寒气。”那李嬷嬷听如此说，只得且和众人吃酒去。这里宝玉又说：“不必烫暖了，我只爱吃冷的。”薛姨妈道：“这可使不得，吃了冷酒，写字手打颤儿。”宝钗笑道：“宝兄弟，亏你每日家杂学旁收的，难道就不知道酒性最热，若热吃下去，发散的就快；&lt;br /&gt;
黛玉便笑道：“是不是？我来了他就该去了。”宝玉道：“我何曾说要去？不过拿来预备着。”宝玉的奶母嬷嬷因说道：“天又下雪，也要看早晚的，就在这里和姐姐妹妹一处玩玩罢。姨妈那里摆茶果呢。我叫丫头去取了斗篷来，说给小么儿们散了罢。”宝玉应了。李嬷嬷出来，命小厮们：“都散了。”&lt;br /&gt;
    &lt;br /&gt;
这里薛姨妈已摆了几样细巧茶果，留他们吃茶。宝玉因夸前日在那边府&lt;br /&gt;
里珍大嫂子的好鹅掌鸭信。薛姨妈连忙把自己糟的取来与他尝。宝玉笑道：&lt;br /&gt;
“这个须就酒方好。”薛姨妈使命人灌了上等的酒来。李嬷嬷便上来道：“姨太&lt;br /&gt;
太，酒倒罢了。”宝玉笑央道：“妈妈，我只吃一杯。”李妈道：“不中用，当着老太太、太太，那怕你吃一坛呢。想那日我眼错不见一会，不知是那个没调教的，只图讨你的好，给了你一口酒吃，葬送得我挨了两日的骂。姨太太不知他性子又可恶，吃了酒更弄性。有一日老太太高兴，又尽着他吃，什么日子又不许他吃，何苦我白赔在里面？”薛姨妈笑道：“老货，只管放心吃你的去！我也不许他吃多了。便是老太太问，有我呢。”一面命小丫头：“来，让你奶奶去也吃杯搪搪寒气。”那李嬷嬷听如此说，只得且和众人吃酒去。这里宝玉又说：“不必烫暖了，我只爱吃冷的。”薛姨妈道：“这可使不得，吃了冷酒，写字手打颤儿。”宝钗笑道：“宝兄弟，亏你每日家杂学旁收的，难道就不知道酒性最热，若热吃下去，发散的就快；&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
若冷吃下去，便凝结在内，五脏去暖他，岂不受害？从此还不改了。&lt;br /&gt;
快不要吃那冷的了。”宝玉听这话有情理，便放下冷的，令人烫来方饮。&lt;br /&gt;
    &lt;br /&gt;
黛玉磕着瓜子儿，只管抿着嘴笑。可巧黛玉的丫鬟雪雁走来与黛玉送小&lt;br /&gt;
手炉，黛玉因含笑问他说：“谁叫你送来的？难为他费心，那里就冷死了我！”雪雁道：‘紫鹃姐姐怕姑娘冷，叫我送来的。”黛玉一面接了，抱在怀中，笑道：“也亏你倒听他的话，我平日和你说的，全当耳旁风；怎么他说了你就依，比圣旨还快些！”宝玉听这话，知是黛玉借此奚落他，也无回复之词，只嘻嘻的笑一阵罢了。宝钗素知黛玉是如此惯了的，也不去睬他。薛姨妈因道：“你素日身子单弱，禁不得冷的，他们记挂着你倒不好？”黛玉笑道：“姨妈不知道。幸亏是姨妈这里，倘或在别人家，岂不要恼的？难道看得人家连个手炉也没有？巴巴儿的从家里送个手炉来。不说丫头们太小心，还只当我素日是这等轻狂惯了呢。”&lt;br /&gt;
薛姨妈道：“你是个多心的，有这样想，我就没有这些心。”&lt;br /&gt;
    &lt;br /&gt;
说话时，宝玉已是三杯过去了。李嬷嬷又上来拦阻。宝玉正在个心甜意&lt;br /&gt;
洽之时，又兼姊妹们说说笑笑的，那里肯不吃？只得屈意央告：“好妈妈，我再吃两杯就不吃了。”李嬷嬷道：“你可仔细今儿老爷在家，提防着问你的书！”宝玉听了此话，便心中大不悦，慢慢的放下酒，垂了头。黛玉忙说：“扫了大家的兴！舅舅若叫你，只说姨妈留着呢。&lt;br /&gt;
&lt;br /&gt;
Drunk hot, its fumes dissipate quickly; drunk cold, it stays in your system and absorbs heat from your vital organs. That’s bad for you. So do stop drinking cold wine.” Since this made sense, Precious Jade Merchant put down the wine and asked to have it warmed. Mascara Jade Forest had been smiling rather cryptically as she cracked melon-seeds. Now her maid Snowgoose brought in her little hand-stove. “Who told you to bring this?” demanded Mascara Jade Forest. “Many thanks. Think I was freezing to death here?”“Nightingale was afraid you might be cold, miss, so she asked me to bring it over.” Nursing the stove in her arms Mascara Jade Forest retorted, “So you do whatever she asks, but let whatever I say go in one ear and out the other. You jump to obey her instructions faster than if they were an Imperial edict.” Although Precious Jade Merchant knew these remarks were aimed at him, his only reply was to chuckle. And Precious Hairpin Marshgrass, aware that this was Mascara Jade Forest’s way, paid no attention either. Aunt Marshgrass, however, protested: “You’ve always been delicate and unable to stand the cold. Why should you be displeased when they’re so thoughtful?”“You don’t understand, aunt,” replied Mascara Jade Forest with a smile. “It doesn’t matter here, but people anywhere else might well take offence. Sending a hand-stove over from my quarters as if my hosts didn’t possess such a thing! Instead of calling my maids too fussy, people would imagine I always behave in this outrageous fashion.”“You take such things too seriously,” said Aunt Marshgrass. “Such an idea would never have entered my head.” By now Precious Jade Merchant had already drunk three cups, and Nanny Li came in again to remonstrate. But he was enjoying himself so much talking and laughing with his cousins, he refused to stop. “Dear nanny,” he coaxed, “just two more cups--- that’s all.”“You’d better look out,” she warned. “Lord Zheng’s at home today, and he may want to examine you on your lessons.” With a sinking heart, Precious Jade Merchant slowly put his cup down and hung his head.“Don’t be such a spoil-sport,” protested Mascara Jade Forest. “If Uncle sends for you, cousin, we can say Aunt Marshgrass is keeping you. This nanny of yours has been drinking and is working off the effects of the wine on us.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 06:39, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Drunk cold, it stays in your system and absorbs heat from your vital organs. That’s bad for you. So do stop drinking cold wine.” Since this made sense, Precious Jade Merchant put down the wine and asked to have it warmed.&lt;br /&gt;
&lt;br /&gt;
Mascara Jade Forest had been smiling rather cryptically as she cracked melon-seeds. Now her maid Snowgoose brought her little hand-stove. “Who told you to bring this?” demanded Mascara Jade Forest. “Many thanks to his or her care. Does he or she thought I was freezing to death here?”“Nightingale was afraid you might be cold, miss, so she asked me to bring it over.” Nursing the stove in her arms Mascara Jade Forest laughed, “So you do whatever she asks, but let whatever I say goes in one ear and out the other. You jump to obey her instructions faster than if they were an Imperial edict.” Although Precious Jade Merchant knew these remarks were aimed at him, his only reply was to chuckle. And Precious Hairpin Marshgrass, aware that this was Mascara Jade Forest’s way, paid no attention either. Aunt Marshgrass, however, protested: “You’ve always been delicate and unable to stand the cold. Why should you be displeased when they’re so caring?”“You don’t understand, aunt,” replied Mascara Jade Forest with a smile. “It doesn’t matter here, but people anywhere else might well take offence. Sending a hand-stove over from my quarters made it as if my hosts didn’t possess such a thing! Instead of calling my maids too fussy, people would imagine I always behave in this outrageous fashion.”“You take such things too seriously,” said Aunt Marshgrass. “Such an idea would never have entered my head.”&lt;br /&gt;
&lt;br /&gt;
By now Precious Jade Merchant had already drunk three cups, and Nanny Li came in again to remonstrate. But he was enjoying himself so much talking and laughing with his cousins, he refused to stop. “Dear nanny,” he coaxed, “just two more cups--- that’s all.”“You’d better look out,” she warned. “Lord Zheng’s at home today, and he may want to examine you on your lessons.” With a sinking heart, Precious Jade Merchant slowly put his cup down and hung his head.“Don’t be such a spoil-sport,” protested Mascara Jade Forest. “If Uncle sends for you, cousin, we can say Aunt Marshgrass is keeping you. This nanny of yours has been drinking and is working off the effects of the wine on us.”&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
这个妈妈，他吃了酒，又拿我们来醒脾了。”一面悄推宝玉，使他赌赌气；一面悄悄的咕哝说：“别理那老货！咱们只管乐咱们的。”那李妈也素知黛玉的，因说道：“林姐儿，你不要助着他了。你倒劝他，只怕他还听些。”林黛玉冷笑道：“我为什么助他？我也不犯着劝他。你这妈妈太小心了，往常老太太又给他酒吃，如今在姨妈这里多吃了一口，料也不妨事。必定姨妈这里是外人，不当在这里的，也未可知。”李嬷嬷听了，又是急，又是笑，说道：“真真这林姐儿，说出一句话来，比刀子还利害，我这话算什么！”宝钗也忍不住笑着把黛玉腮上一拧，说道：“真真的这个颦丫头的一张嘴，叫人恨又不是，喜欢又不是。”薛姨妈一面又说：“别怕，别怕，我的儿！来了这里，没好的你吃，别把这点子东西吓的存在心里，倒叫我不安。只管放心吃，有我呢。越发吃了晚饭去，便醉了，就跟着我睡罢。”因命：“再烫些酒来，姨妈陪你吃两杯，可就吃饭罢。”宝玉听了，方又鼓起兴来。李嬷嬷因吩咐小丫头：“你们在这里小心着，我家去换了衣服就来。”悄悄的回姨太太：“别由他的性儿多吃了。”说着便家去了。&lt;br /&gt;
    &lt;br /&gt;
这里虽还有两三个婆子，都是不关痛痒的，见李嬷嬷走了，也都悄悄自寻&lt;br /&gt;
方便去了。只剩两个小丫头，乐得讨宝玉的欢喜。幸而薛姨妈千哄万哄，只容&lt;br /&gt;
他吃了几杯，就忙收过了。作了酸笋鸡皮汤，宝玉痛喝了几碗，又吃了半碗多碧&lt;br /&gt;
粳粥，&lt;br /&gt;
&lt;br /&gt;
The Mama, she has taken in some wine, so then makes fun of us.&amp;quot; Mascara Jade quietly pushed Precious Jade to make him annoyed. At the same time she muttered to him:&amp;quot; Let's enjoy ourselves. Don't pay attention to that old woman.&amp;quot; Mama Li also knew Mascara Jade well so she said:&amp;quot; Miss Lin , you could not be on his side. If you persuaded him, he might obey in some way.&amp;quot; Mascara Jade sneered,&amp;quot; Why do I help him? There is no need for me to persuade him not to drink yet. You are too careful. Habitually, Grandma Merchant allowed Precious Jade a drink in the past. So now it does not matter that he has got an extra mouthful of wine at his aunt's. I don't know if my aunt is a stranger here and shouldn't be here.&amp;quot; Hearing this, Mammy Li was both worried and laughing. She said, &amp;quot;Really, Miss Lin, when you spit out a sentence, it is sharper than a knife. My words can't make any difference!&amp;quot; Precious Hairpin could not help smiling and pinched Mascara Jade's cheek, saying, &amp;quot; I don't know whether to hate or love the mouth of this stubborn girl.&amp;quot; And Aunt Xue added: &amp;quot;Don't be afraid, don't be afraid, my baby! There has not been delicious food to treat you. Instead, if you keep this kind of scare in your mind, I will feel uneasy. Just eat at ease. Everything is in the charge of me. You even can have dinner here. If you are drunken, sleep here.&amp;quot; Therefore, she ordered:&amp;quot;Heat some more wine. I am going to have a glass of it with you.Then let's have dinner.&amp;quot; Hearing this, Precious Jade cheered up again. Mama Li said to the little girl, &amp;quot;Be careful here. I'll go to change my clothes and come here.&amp;quot; Quietly replying to concubine: &amp;quot;Don't let him drink too much at his will.&amp;quot; Then going home.&lt;br /&gt;
&lt;br /&gt;
There were still two or three old women here, but none of whom could benefited from staying there. When they saw Mammy Li away, they all quietly left. Only two little girls wanted to please Precious Jade. Thanks to being coaxed a lot by Aunt Xue, he only drank a few glasses. And the wine was taken away quickly. There is a soup of Sour Bamboo Shoots and Chicken Skin. Precious Jade outright drank several bowls of it, and half a bowl of Japonica Rice Porridge more.&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
一时薛林二人也吃完了饭，又酽酽的喝了几碗茶。薛姨妈方放了心。雪&lt;br /&gt;
雁等三四人，也吃了饭进来伺候。黛玉因问宝玉道：“你走不走？”宝玉乜斜倦&lt;br /&gt;
眼道：“你要走我和你一同走。”黛玉听说，遂起身道：“咱们来了这一日，也该回去了。”说着，二人便告辞。&lt;br /&gt;
    &lt;br /&gt;
小丫头忙捧过斗笠来，宝玉便把头略低一低，叫他戴上，那丫头便将这大&lt;br /&gt;
红猩毡斗笠一抖，才往宝玉头上一合，宝玉便说：“罢了，罢了！好蠢东西！你也轻些儿，难道没见别人戴过？让我自己戴罢。”黛玉站在炕沿上道：“过来，我与你戴罢。”宝玉忙近前来。黛玉用手轻轻笼住束发冠儿，将笠沿掖在抹额之上，将那一颗核桃大的绛绒簪缨扶起，颤巍巍露于笠外。整理已毕，端像了一会，说道：“好了，披上斗篷罢。”宝玉听了，方接了斗篷披上。薛姨妈忙道：“跟你们的妈妈都还没来呢，且略等等。”宝玉道：“我们倒去等他们，有丫头们跟着也够了。”薛姨妈不放心，吩咐两个妇女跟着送了他兄妹们去。&lt;br /&gt;
    &lt;br /&gt;
他二人道了扰，一径回至贾母房中。贾母尚未用晚饭，知是薛姨妈处来，&lt;br /&gt;
更加喜欢。因见宝玉吃了酒，遂命他自回房中歇着，不许再出来了，因令人好生&lt;br /&gt;
看待着。忽想起跟宝玉的人来，遂问众人：“李奶子怎么不见？”众人不敢直说&lt;br /&gt;
他家去了，只说：“才进来的，想有事又出去了。”宝玉踉跄回顾道：“他比老太太还受用呢，问他作什么！没有他只怕我还多活两日。”一面说，一面来至自己卧室，只见笔墨在案。&lt;br /&gt;
&lt;br /&gt;
By this time, Precious Hairpin Marshgrass and Mascara Jade Forest had also finished their repast; and when Precious Jade had drunk a few cups of strong tea, Mrs. Marshgrass felt more easy in her mind. SnowGoose and the others, three or four of them in all, had also had their meal, and came in to wait upon them. &amp;quot;Do you want to go now?&amp;quot; inquired Mascara Jade of Precious Jade. Precious Jade looked skeptically with his drowsy eyes. &amp;quot;If you want to go now, I'll go with you.&amp;quot; Hearing this, Mascara Jade rose speedily. &amp;quot; We have been here nearly the whole day,&amp;quot; she said,&amp;quot; and ought to be going back.&amp;quot; As she spoke the two of them bare farewell.&lt;br /&gt;
&lt;br /&gt;
The waiting-maids presented a hood to each of them, Precious Jade readily lowered his head slightly and told the maid to put it on. The girl promptly took the hood which made of deep red cloth, and shaking it out of its fold, then she put it on Precious Jade's head. &amp;quot; Let it be!&amp;quot; hastily exclaimed Precious Jade. &amp;quot;You stupid thing! gently a bit; Have you never seen anyone put on the hood before? Let me do it myself.&amp;quot; &amp;quot; Come it over, and I'll put it on for you,&amp;quot; suggested Mascara Jade, as she stood on the edge of the coach. Precious Jade eagerly approached her and Mascara Jade carefully kept the cap to which his hair was bound and taking the hood, she rested its edge on the circlet round his forehead. Then, she raised the ball of crimson velvet which was as large as a walnut, and let it appear outside the hood and wave tremulously. After the hood has been put, she cast a look for a while at what she had done. &amp;quot;That's fine,&amp;quot; she added, &amp;quot;throw your wrapper over you!&amp;quot; When Precious Jade caught these words, he eventually took the wrapper and threw it over his shoulders. &amp;quot;None of your nurses are yet come, so you had better wait a while,&amp;quot; hurriedly interposed Aunt Marshgrass. &amp;quot;Why should we wait for them?&amp;quot; said Precious Jade, &amp;quot;We have the waiting-maids to escort us, and surely they should be enough.&amp;quot; Mrs. Marshgrass finding it difficult to set her mind at ease, therefore she deputed two married woman to accompany the two cousins.&lt;br /&gt;
&lt;br /&gt;
And after they had both expressed their regret at being troubled them to these woman, they came straightway to Dowager Lady Merchant's suite of apartments. Lady Merchant had not yet had her evening repast. Hearing that they had been at Mrs. Marshgrass's, she was extremely pleased; but noticing that Precious Jade had had some wine, she gave orders that he should be stayed in his room and put to bed, also not be allowed to come out again. &amp;quot;Do take good care of him,&amp;quot; therefore she adjured the servants, and when she bethought of Precious Jade's attendants, she at once inquired all of the servants, “How come that I don't see Nanny Plum here?&amp;quot; They did not venture to tell her the truth that she had gone home, but simply explained that she had come in  few moments back and they thought she must have gone out again on some business and others, &amp;quot;She was better off than your venerable ladyship,&amp;quot; remarked Precious Jade, turning around and swaying side from side. &amp;quot;Why ask after her? Without her, I believe I might have live a little longer.&amp;quot; While uttering these words, he reached the door of his bedroom where he saw pen and ink on the writing table.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
By this time, Precious Hairpin Marshgrass and Mascara Jade Forest had also finished their repast; and when Precious Jade had drunk a few cups of strong tea, Mrs. Marshgrass felt easier in her mind. SnowGoose and the others, three or four of them in all, had also had their meal and came in to wait upon them. &amp;quot;Do you want to go now?&amp;quot; inquired Mascara Jade of Precious Jade. Precious Jade looked skeptically with his drowsy eyes. &amp;quot;If you want to go now, I'll go with you.&amp;quot; Hearing this, Mascara Jade rose speedily. &amp;quot; We have been here nearly the whole day,&amp;quot; she said,&amp;quot; and ought to be going back.&amp;quot; As she spoke the two of them bare farewell.&lt;br /&gt;
&lt;br /&gt;
The waiting maids presented a hood to each of them, Precious Jade readily lowered his head slightly and told the maid to put it on. The girl promptly took the hood which made of deep red cloth, and shaking it out of its fold, then she put it on Precious Jade's head. &amp;quot; Let it be!&amp;quot; hastily exclaimed Precious Jade. &amp;quot;You stupid thing! gently a bit; Have you never seen anyone put on the hood before? Let me do it myself.&amp;quot; &amp;quot; Come it over, and I'll put it on for you,&amp;quot; suggested Mascara Jade, as she stood on the edge of the coach. Precious Jade eagerly approached her and Mascara Jade carefully kept the cap to which his hair was bound and taking the hood, she rested its edge on the circlet around his forehead. Then, she raised the ball of crimson velvet which was as large as a walnut, and let it appear outside the hood and wave tremulously. After the hood has been put on, she cast a look for a while at what she had done. &amp;quot;That's fine,&amp;quot; she added, &amp;quot;throw your wrapper over you!&amp;quot; When Precious Jade caught these words, he eventually took the wrapper and threw it over his shoulders. &amp;quot;None of your nurses have yet come, so you had better wait a while,&amp;quot; hurriedly interposed Aunt Marshgrass. &amp;quot;Why should we wait for them?&amp;quot; said Precious Jade, &amp;quot;We have the waiting maids to escort us, and surely they should be enough.&amp;quot; Mrs. Marshgrass finding it difficult to set her mind at ease, therefore she deputed two married women to accompany the two cousins.&lt;br /&gt;
&lt;br /&gt;
And after they had both expressed their regret at being troubled them to these women, they came straightway to Dowager Lady Merchant's suite of apartments. Lady Merchant had not yet had her evening repast. Hearing that they had been at Mrs. Marshgrass's, she was extremely pleased; but noticing that Precious Jade had had some wine, she gave orders that he should be stayed in his room and put to bed, also not be allowed to come out again. &amp;quot;Do take good care of him,&amp;quot; therefore she adjured the servants, and when she bethought of Precious Jade's attendants, she at once inquired all of the servants, “How come that I don't see Nanny Plum here?&amp;quot; They did not venture to tell her the truth that she had gone home, but simply explained that she had come in few moments back and they thought she must have gone out again on some business and others, &amp;quot;She was better off than your venerable ladyship,&amp;quot; remarked Precious Jade, turning around and swaying side from side. &amp;quot;Why ask after her? Without her, I believe I might have lived a little longer.&amp;quot; While uttering these words, he reached the door of his bedroom where he saw pen and ink on the writing-table.--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:36, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
晴雯先接出来，笑道“好好叫我研了墨，早起高兴，只写了三个字，丢下笔就走了，哄我等了这一天。快来给我写完了这些墨才罢！”宝玉方才想起早起的事来，因笑道：“我写的那三个字在那里呢？”晴雯笑道：“这个人可醉了。你头里过那府里去，嘱咐我贴在门斗儿上的，我生怕别人贴坏了，亲自爬高上梯，贴了半日，这会儿还冻得手僵呢。”宝玉笑道：“我忘了。你手冷，我替你握着。”便伸手携着晴雯的手，同看门斗上新写的三个字。&lt;br /&gt;
    &lt;br /&gt;
一时黛玉来了，宝玉笑道：“好妹妹，你别撒谎，你看这三个字那一个好？”&lt;br /&gt;
黛玉仰头看见是“绛芸轩”三字，笑道：“个个都好。怎么写得这样好法？明儿&lt;br /&gt;
也替我写个匾。”宝玉笑道：“又哄我呢。”说着又问：“袭人姐姐呢？”晴雯向里间炕上努嘴。宝玉看时，只见袭人和衣睡着。宝玉笑道：“好，太睡早了些。”又问晴雯道：“今儿我那边吃早饭，有一碟儿豆腐皮的包子，我想着你爱吃，和珍大嫂子说了，只说我留着晚上吃，叫人送过来的。你可曾见么？”晴雯道：“快别提了。一送来我便知道是我的，偏才吃了饭，就搁在那里。后来李奶奶来了看见，说：‘宝玉未必吃了，拿去给我孙子吃罢。’就叫人送了家去了。”正说着，茜雪捧上茶来，宝玉还让：“林妹妹吃茶。”众人笑道：“林姑娘早走了，还让呢。”&lt;br /&gt;
    &lt;br /&gt;
宝玉吃了半盏，忽又想起早晨的茶来，因问茜雪道：“早起斟了一碗枫露&lt;br /&gt;
茶，我说过那茶是三四次后才出色的，这会子怎么又斟上这个茶来？”&lt;br /&gt;
&lt;br /&gt;
Skybright came out with a smile, exclaiming, &amp;quot;You made me grind that ink for you this morning because you were feeling good; but you only wrote three characters, then threw down your brush and marched off. You've kept us waiting for you the whole day. You must set to work quickly now and use up this ink.&amp;quot; Reminded of that morning's happenings, Precious Jade asked, &amp;quot;Where are the three characters I wrote?&amp;quot; &amp;quot;This fellow's drunk!&amp;quot; Skybright laughed. “Just before you went over to the other house you told me to have them pasted above the door, yet now you ask where they are. Not trusting anyone else to do a good job, I got up on a ladder to paste them up myself. My hands are still numb with cold.&amp;quot; &amp;quot;I forgot. &amp;quot;Precious Jade grinned. &amp;quot;Let me warm your hands for you. &amp;quot;He took Skybright's hands in his while they both looked up at the inscription over the lintel. &lt;br /&gt;
&lt;br /&gt;
Just then Mascara Jade came in and he asked her, &amp;quot;Tell me honestly, dear cousin, which of these three characters is the best written? &amp;quot; Mascara Jade raised her head and read the inscription: Red Rue Studio. &amp;quot;They're all good. I didn't know you were such a calligrapher. You must write an inscription for me some time too. You're making fun of me again. Precious Jade chuckled. &amp;quot;where's Aroma ? &amp;quot;he asked Skybright. Skybright tilted her head towards the Kang in the inner room, where Precious Jade saw Aroma lying, fully dressed. &amp;quot;That’s good, &amp;quot;he said. &amp;quot;But it,s rather early to sleep. At breakfast in the other house this morning there was a plate of beancurd dumplings. Knowing you'd like them, I asked Madam You to let me have them for supper, and they were sent over. Did you get them all right?&amp;quot; Don't ask!&amp;quot; answered Skybright. &amp;quot;I knew at once they were meant for me, but as I'd just finished my breakfast I left them here. Then Nanny Li came and saw them. Precious Jade won't be wanting these,' she said. &amp;quot;I'll take them for my grandson.' She got somebody to send them home for her.&amp;quot; At this point, Snowpink brought in tea and Precious Jade said, &amp;quot;Do have some tea, Cousin Lin.&amp;quot; The maids burst out giggling. &amp;quot;She's gone long ago. Yet you offer her tea.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
After drinking half a cup himself he remembered something else and asked Snowpink, &amp;quot;Why did you bring me this tea? This morning we brewed some maple-dew tea, and I told you its flavor doesn't really come out until after three or four steepings.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Sunny Cloud Formation came out with a smile, exclaiming, &amp;quot;You made me grind that ink for you this morning because you were feeling good; but you only wrote three characters, then threw down your brush and marched off. You've kept us waiting for you the whole day. You must set to work quickly now and use up this ink.&amp;quot; Reminded of that morning's happenings, Precious Jade asked, &amp;quot;Where are the three characters I wrote?&amp;quot; &amp;quot;This fellow's drunk!&amp;quot; Sunny Cloud Formation laughed. “Just before you went over to the other house you told me to have them pasted above the door, yet now you ask where they are. Not trusting anyone else to do a good job, I got up on a ladder to paste them up myself. My hands are still numb with cold.&amp;quot; &amp;quot;I forgot. &amp;quot;Precious Jade grinned. &amp;quot;Let me warm your hands for you. &amp;quot;He took Sunny Cloud Formation's hands in his while they both looked up at the inscription over the lintel.&lt;br /&gt;
&lt;br /&gt;
Just then Mascara Jade came in and he asked her, &amp;quot;Tell me honestly, dear cousin, which of these three characters is the best written? &amp;quot; Mascara Jade raised her head and read the inscription: Red Rue Studio. &amp;quot;They're all good. I didn't know you were such a calligrapher. You must write an inscription for me some time too. You're making fun of me again. Precious Jade chuckled. &amp;quot;where's Aroma ? &amp;quot;he asked Sunny Cloud Formation. Sunny Cloud Formation tilted her head towards the Kang in the inner room, where Precious Jade saw Aroma lying, fully dressed. &amp;quot;That’s good, &amp;quot;he said. &amp;quot;But it,s rather early to sleep. At breakfast in the other house this morning there was a plate of beancurd dumplings. Knowing you'd like them, I asked Madam Treasure to let me have them for supper, and they were sent over. Did you get them all right?&amp;quot; Don't ask!&amp;quot; answered Sunny Cloud Formation. &amp;quot;I knew at once they were meant for me, but as I'd just finished my breakfast I left them here. Then Nanny Li came and saw them. Precious Jade won't be wanting these,' she said. &amp;quot;I'll take them for my grandson.' She got somebody to send them home for her.&amp;quot; At this point, Snow Alizarin brought in tea and Precious Jade said, &amp;quot;Do have some tea, Cousin Forest.&amp;quot; The maids burst out giggling. &amp;quot;She's gone long ago. Yet you offer her tea.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
After drinking half a cup himself he remembered something else and asked Snow Alizarin, &amp;quot;Why did you bring me this tea? This morning we brewed some maple-dew tea, and I told you its flavor doesn't really come out until after three or four steepings.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 16:36, 26 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
茜雪道：&lt;br /&gt;
“我原是留着的，那会子李奶奶来了，吃了去。”宝玉听了，将手中杯子顺手往地下一掷，豁琅一声，打个粉碎，泼了茜雪一裙子。又跳起来问着茜雪道：“他是你那一门子的‘奶奶’，你们这样孝敬他？不过是我小时候吃过他几日奶罢了，如今惯的比祖宗还大，撵了出去大家干净！”说着立刻便要去回贾母撵他乳母。&lt;br /&gt;
    &lt;br /&gt;
原来袭人实未睡着，不过是故意装睡，引宝玉来怄他玩耍；先闻得说字问&lt;br /&gt;
包子，也还可以不必起来；后来摔了茶钟，动了气，遂连忙起来解释劝阻。早有&lt;br /&gt;
贾母遣人来问：“是怎么了？”袭人忙道：“我才倒茶来，被雪滑倒了，失手砸了钟子。”一面又劝宝玉道：“你立意要撵他也好，我们都愿意出去，不如趁势连我们一齐撵了，我们也好，你也不愁没有好的来伏侍你。”宝玉听了，方无言语，被袭人等挟至炕上，脱了衣裳。不知宝玉口内还说些什么，只觉口齿缠绵，眉眼愈加饧涩，忙伏侍他睡下。袭人摘下那“通灵宝玉”来，用手帕包好，塞在褥子下，次日带时，便冰不着脖子。那宝玉到枕就睡着了。彼时李嬷嬷等已进来了，听见醉了，也就不敢上前，只悄悄的打听睡了，方放心散去。&lt;br /&gt;
    &lt;br /&gt;
次日醒来，就有人回：“那边小蓉大爷带了秦钟来拜。”宝玉忙接出去，领了&lt;br /&gt;
拜见贾母。贾母见秦钟形容标致，举止温柔，堪陪宝玉读书，心中十分欢喜，便&lt;br /&gt;
留茶留饭，又命人带去见王夫人等。众人因爱秦氏，见了秦钟是这样人品，也都&lt;br /&gt;
欢喜，临去时，都有表礼。&lt;br /&gt;
&lt;br /&gt;
The Snow said, “I had kept it, but Granny Li came and drank it.” Hearing this, Precious Jade threw the cup on the floor, which smashed into pieces, water pouring at Snow’s dress. He jumped up and shouted, “What kind of Granny should you serve her this way? She is just a wet nurse and now you take her unduly seriously. Get her out in exchange of serenity.” He then was about to ask Granny Merchant to get her out. &lt;br /&gt;
It turned out that Aroma was awake, just pretending to be asleep in order to lead him to play with her. First she heard about the buns and thought there is no need to get up; then it was the cup and Precious Jade got angry. Therefore, she hastened to get up, explaining to stop him. Granny Merchant sent someone to ask what had happened. Aroma replied quickly, “I was pouring tea when I slipped over on the snow and broke the cup.” In the meanwhile, she tried to persuade Precious Jade, “if you are determined to drive her out, then drive us all as well. There is no need for you to worry about no better ones to serve you.” Hearing this, Precious Jade fell silent and was held by Aroma and others to the kang, clothes stripped. Precious Jade was grumbling something, tongue and teeth mixed, with eyes half closed.&lt;br /&gt;
After serving him to sleep, Aroma untied the Psychic Jade and packed it with a handkerchief. She placed it under the bedding to warm it; therefore, it wouldn’t make the neck cold when he wore it. Precious Jade fell asleep as soon as he touched the pillow. At that time, Mammy Li were already in but not dared to come close when she heard Precious Jade was asleep. In this way, she just left in relief.&lt;br /&gt;
When Precious Jade woke up next morning, someone told him that Lotus Merchant took Perryellis to visit Granny Merchant. Precious Jade came out to welcome them and lead them to greet Granny Merchant. She noticed that Perryellis was pretty and mild, proper to read with Precious Jade. She was so glad that she asked him to stay for dinner and asked someone to lead him to meet Lady Wang. Since they all like Miss Qin, they appreciated him once seeing him. Before he left, they all gave him small gifts.&lt;br /&gt;
&lt;br /&gt;
The Snow said, “I had kept it, but Granny Li came and drank it.”After hearing this, Precious Jade threw the cup that was into piece with waters pouring in the end on the floor, which smashed into pieces, water pouring at Snow’s dress. She was so glad that she invited him for dinner and ordered servant to accompany him to greet Lady Wang. Because having a good impressive on Lady Qin and Qin Zhong's good personality, People were glad him and gave him some going-away presents.  ——Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
贾母又与了一个荷包并一个金魁星，取“文星和合”&lt;br /&gt;
之意。又嘱咐他道：“你家住的远，或一时寒热不便，只管住在我这里。只和你&lt;br /&gt;
宝叔在一处，别跟着那不长进的东西们学。”秦钟一一的答应，回家禀知他父亲。&lt;br /&gt;
    &lt;br /&gt;
他父亲秦邦业现任营缮郎，年近七旬，夫人早亡。因当年无儿女，便向养&lt;br /&gt;
生堂抱了一个儿子并一个女儿。谁知儿子又死了，只剩女儿，小名唤可儿。长&lt;br /&gt;
大时，生得形容袅娜，性格风流，因素与贾家有些瓜葛，故结了亲。秦邦业五旬&lt;br /&gt;
之上方得了秦钟，因去岁业师回南，在家温习旧课，正要与贾亲家商议附往他家&lt;br /&gt;
塾中去；可巧遇见宝玉这个机会，又知贾家塾中司塾的乃贾代懦，现今之老懦，&lt;br /&gt;
秦钟此去，可望学业进益，从此成名，因十分喜悦。只是宦囊羞涩，那边都是一&lt;br /&gt;
双富贵眼睛，少了拿不出来；儿子的终身大事，说不得东并西凑，恭恭敬敬封了&lt;br /&gt;
二十四两贽见礼，带来秦钟到代儒家来拜见，然后听宝玉拣的好日子，一同入&lt;br /&gt;
塾。塾中闹事如何，下回分解。&lt;br /&gt;
    &lt;br /&gt;
◎第九回 训劣子李贵承申饬  嗔顽童茗烟闹书房&lt;br /&gt;
    &lt;br /&gt;
话说秦邦业父子专候贾家的人来送上学之信。原来宝玉急于要和秦钟相&lt;br /&gt;
遇，遂择了后日一定上学，打发人送了信。至日一早，宝玉起来时，袭人早已把&lt;br /&gt;
书笔文物收拾停妥，坐在床沿上发闷；见宝玉来，只得伏侍他梳洗。宝玉见他闷&lt;br /&gt;
闷的，因问道：“好姐姐，你怎么又不自在了？难道怪我上学去，丢的你们冷清了不成？”&lt;br /&gt;
Grandma Jia’s was an embroidered purse enclosing a little God of Literature in solid gold to signify that literary success was in the bag’. ‘Since your home is so far away,’ she said to Qin Zhong as he was leaving, &amp;quot;the weather may sometimes make it inconvenient for you to go back at night. In that case, do please stay here with us! And mind that you always keep with your Uncle Bao and don’t go getting into mischief with those young ragamuffins at the school!’ Qin Zhong received these admonitions with deference and then went home to report on the day’s events to his father. Qin Zhong’s father, Qin Bang-ye, was one of the Secretaries in the Public Buildings Department of the Board of Works and a man in his middle sixties. He had lost his wife early, and finding himself still childless at the age of fifty, had adopted a boy and a girl from an orphanage. The boy had died, leaving only the girl Ke-er, or ‘Ke-qing’ as she was more elegantly renamed, who had grown up into an extremely charming and vivacious young woman and been married into the Jia family, with whom her adoptive father had long had a connection. Qin Bang-ye fathered Qin Zhong when he was fifty-three and the boy was now twelve years old. His tutor had returned south the year before, and he had been revising old lessons at home ever since. Qin Bang-ye had himself been on the point of speaking to his daughter’s in-laws about the possibility of getting Qin Zhong admitted into the Jia clan school as an external scholar when the happy accident of Qin Zhong’s meeting with Precious Jade Merchant occurred. Bang-ye knew of Jia Dai-ru, the master in charge of the school, as one of the leading elder scholars of the day, under whose tutelage there would be every hope of Qin Zhong’s making rapid strides in his education and eventually obtaining an advancement. He was therefore delighted that the matter had been so easily concluded. There was only one difficulty. Knowing the sort of style in which the Jias lived, Bang-ye realized that he would have to dip deeply into his pocket, and his official salary left that pocket only meagrely supplied. However, since this was a matter which concerned the whole future of his son, there was nothing for it but to strain his credit to the utmost. By borrowing a bit here and a bit there he was able to get together a sum of twenty-four taels of silver which he made up into a packet and laid reverently before Jia Dai-ru when he took Qin Zhong to the old teacher’s house to make his kotow. Nothing now remained but for Bao-yu to choose an auspicious day on which the two of them could begin school together. Their entry into the school was the occasion of a tumultuous incident of which an account will be given in the following chapter. &lt;br /&gt;
CHAPTER 9 &lt;br /&gt;
A son is admonished and Li Gui receives an alarming warning. A pupil is abused and Tealeaf throws the classroom in an uproar In the last chapter we left Qin Bang-ye and his son waiting for a message from the Jia household to tell them when Qin Zhong was to begin school.Precious Jade Merchant was impatient to see Qin Zhong again and sent word to say that it was to be the day after next. When the appointed day arrived,Precious Jade Merchant rose in the morning to find that Aroma had already got his books, brushes and other writing materials ready for him and was sitting disconsolately on the side of his bed. Seeing him get up, she roused herself and helped him to do his hair and wash. He asked her the cause of her despondency.  ‘What’s upset you this time, Aroma? I can’t believe you are worried about being left alone while I am at school.’   -Li Yihao&lt;br /&gt;
&lt;br /&gt;
Grandmother Merchant’s was an embroidered purse enclosing a little God of Literature in solid gold to signify that literary success was in the bag’. ‘Since your home is so far away,’ she said to Qin Zhong as he was leaving, &amp;quot;the weather may sometimes make it inconvenient for you to go back at night. In that case, do please stay here with us! And mind that you always keep with your Uncle Bao and don’t go getting into mischief with those young ragamuffins at the school!’ Qin Zhong received these admonitions with deference and then went home to report on the day’s events to his father. Qin Zhong’s father, Qin Bang-ye, was one of the Secretaries in the Public Buildings Department of the Board of Works and a man in his middle sixties. He had lost his wife early, and finding himself still childless at the age of fifty, had adopted a boy and a girl from an orphanage. The boy had died, leaving only the girl Ke-er, or ‘Ke-qing’ as she was more elegantly renamed, who had grown up into an extremely charming and vivacious young woman and been married into the Merchant family, with whom her adoptive father had long had a connection. Qin Bang-ye fathered Qin Zhong when he was fifty-three and the boy was now twelve years old. His tutor had returned south the year before, and he had been revising old lessons at home ever since. Qin Bang-ye had himself been on the point of speaking to his daughter’s in-laws about the possibility of getting Qin Zhong admitted into the Merchant clan school as an external scholar when the happy accident of Qin Zhong’s meeting with Precious Jade occurred. Bang-ye knew of Merchant Dai-ru, the master in charge of the school, as one of the leading elder scholars of the day, under whose tutelage there would be every hope of Qin Zhong’s making rapid strides in his education and eventually obtaining an advancement. He was therefore delighted that the matter had been so easily concluded. There was only one difficulty. Knowing the sort of style in which the Merchants lived, Bang-ye realized that he would have to dip deeply into his pocket, and his official salary left that pocket only meagrely supplied. However, since this was a matter which concerned the whole future of his son, there was nothing for it but to strain his credit to the utmost. By borrowing a bit here and a bit there he was able to get together a sum of twenty-four taels of silver which he made up into a packet and laid reverently before Merchant Dai-ru when he took Qin Zhong to the old teacher’s house to make his kotow. Nothing now remained but for Precious Jade to choose an auspicious day on which the two of them could begin school together. Their entry into the school was the occasion of a tumultuous incident of which an account will be given in the following chapter. &lt;br /&gt;
&lt;br /&gt;
CHAPTER 9 &lt;br /&gt;
&lt;br /&gt;
A son is admonished and Li Gui receives an alarming warning. &lt;br /&gt;
&lt;br /&gt;
A pupil is abused and Tealeaf throws the classroom in an uproar In the last chapter we left Qin Bang-ye and his son waiting for a message from the Merchant household to tell them when Qin Zhong was to begin school. Precious Jade was impatient to see Qin Zhong again and sent word to say that it was to be the day after next. When the appointed day arrived, Precious Jade rose in the morning to find that Aroma had already got his books, brushes and other writing materials ready for him and was sitting disconsolately on the side of his bed. Seeing him get up, she roused herself and helped him to do his hair and wash. He asked her the cause of her despondency. ‘What’s upset you this time, Aroma? I can’t believe you are worried about being left alone while I am at school.’&lt;br /&gt;
--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 17:03, 13 April 2021 (UTC)Liu Tingyang&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
袭人笑道：“这是那里的话。读书是极好的事，不然就潦倒了一辈子，终&lt;br /&gt;
久怎么样呢。但只一件：只是念书的时节想着书，不念的时节想着家。总别和&lt;br /&gt;
他们一处玩闹，碰见老爷不是玩的。虽说是奋志要强，那工课宁可少些，一则贪&lt;br /&gt;
多嚼不烂，二则身子也要保重。这就是我的意思，你可时时体谅。”袭人说一句，&lt;br /&gt;
宝玉应一句。袭人又道：“大毛衣服我也包好了，交给小子们去了。学里冷，好&lt;br /&gt;
歹想着添换，比不得家里有人照顾。脚炉手炉也交出去的了，你可逼着他们添。&lt;br /&gt;
那一起懒贼，你不说，他们乐得不动，白冻坏了你。”宝玉道：“你放心，我出外头，自己都会调停的。你们也可别闷死在这屋里，长和林妹妹一处去玩耍才好。”&lt;br /&gt;
说着俱已穿戴齐备，袭人催他去见贾母、贾政、王夫人等。宝玉又嘱咐了晴雯麝&lt;br /&gt;
月几句，方出来见贾母。贾母也未免有几句嘱咐的话。然后去见王夫人，又出&lt;br /&gt;
来到书房中见贾政。&lt;br /&gt;
    &lt;br /&gt;
偏生这日贾政回家早，正在书房中与相公清客们闲话，忽见宝玉进来请&lt;br /&gt;
安，回说上学里去，贾政冷笑道：“你如果再提‘上学’两个字，连我也羞死了。&lt;br /&gt;
依我的话，你竟玩你的去是正经。仔细站脏了我这地，靠脏了我这门！”众清客&lt;br /&gt;
相公们都起身笑道：“老世翁何必如此。今日世兄一去，二三年就可显身成名&lt;br /&gt;
的了，断不似往年作小儿之态的。天也将饭时，世兄竟快请罢。”说着便有两个&lt;br /&gt;
年老的携了宝玉出去。&lt;br /&gt;
&lt;br /&gt;
贾政因问：“跟宝玉的是谁？”&lt;br /&gt;
Aroma said with a laugh：“Of course not. Learning is a very good thing, or you would be down-and-out all your life. I only hope that you’ll see to it that you are learning when you are meant to be. When you are not, you’d better think about home and not play with the other boys. If your father know that, you will be in trouble. Also, though self-improvement is needed, it would be better to do less work than they ask. For one thing, you know there is no need to bite off more than you can chew; and for another, you don’t want your health to suffer. So these are what I mean. Please remember them all the time.”Each time Aroma finished her words, Precious Jade answered “Yes” or “No”. She continued: ‘I have packed your big fur sweater for pages. Put it on if you find it cold at the school. It won’t be like home, for people would take care of you. Your foot-warmer and hand-warmer are also packed，so you’ll have to see that they give the charcoal a stir from time to time. They’re so lazy, and they’ll be only to do nothing if you don’t ask them. You could be frozen out for it.” “Don’t worry!” said Precious Jade. “I know how to deal with it. And you people don’t be gloomy in this house. It will be good to spend some time with my Cousin Lin.” As he completed his dress, Aroma urged him to visit Granny Merchant, Merchant Zheng, and Lady Wang. After a short communication with Skybright and Musk, he went off to Granny Merchant’s room, where he listened to some suggestions. Then on to Lady Wang’s, and then on to the study to visit his father Merchant Zheng.&lt;br /&gt;
&lt;br /&gt;
Merchant Zheng was in conversation with his literary gentlemen when Precious Jade entered the room and saluted to him. Knowing that he was off to school, Merchant Zheng smiled sarcastically and said: “You’d better not use the word “study” again which makes me blush for you. To my mind, you might just play around as usual. At all events, I don’t want you here. You’ve contaminated my room.”&lt;br /&gt;
&lt;br /&gt;
Merchant Zheng asked: “Who is in attendance on Precious Jade?”  --[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 16:43, 13 April 2021 (UTC)Liu Tingyang&lt;br /&gt;
----&lt;br /&gt;
Aroma said with a laugh：“Of course not. Learning is a very good thing; if you don’t  learn, you would be down-and-out all your life. I only hope that you’ll see to it that you are learning when you are meant to be. When you are not, you’d better think about home and not play with the other boys. If your father knows that, you will be in trouble. Also, though self-improvement is needed, it would be better to do less homework. For one thing, there is no need to bite off more than you can chew; and for another, I don’t want your health to suffer. So these are what I mean. Please remember them all the time.” Each time Aroma finished her words, Precious Jade responded once. She continued: ‘I have packed your big fur sweater for pages and given to your servants. Put it on if you find it cold at the school. It won’t be like where people would take care of you. Your foot-warmer and hand-warmer are also packed，so you’ll have to order they to give the charcoal a stir from time to time. They’re so lazy, and they’ll do nothing if you don’t ask them. Then, you could be frozen out for it.” “Don’t worry!” said Precious Jade, “I know how to deal with it. And you people don’t be gloomy in this house. It will be good for you to spend some time with my Cousin Lin.” As he completed his dress, Aroma urged him to visit Granny Merchant, Merchant Zheng, and Lady Wang. After a short communication with Skybright and Musk, he went off to Granny Merchant’s room, where he listened to some suggestions. Then on to Lady Wang’s, and then on to the study to visit his father Merchant Zheng.&lt;br /&gt;
This day, Merchant Jia came back home by chance. He was in conversation with his literary gentlemen when Precious Jade entered the room and saluted to him. Knowing that he was off to school, Merchant Zheng smiled sarcastically and said: “You’d better not use the word “study” again which makes me blush for you. In my mind, you might just play around as usual. At all events, I don’t want you here. You’ve contaminated my room.”&lt;br /&gt;
Merchant Zheng asked: “Who is in attendance on Precious Jade?”--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 07:23, 14 April 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
Aroma said with a laugh：“Of course not. Learning is a very good thing; if you don’t  learn, you would be down-and-out all your life. I only hope that you’ll see to it that you are learning when you are meant to be. When you are not, you’d better think about home and not play with the other boys. If your father knows that, you will be in trouble. Also, though self-improvement is needed, it would be better to do less homework. For one thing, there is no need to bite off more than you can chew; and for another, I don’t want your health to suffer. So these are what I mean. Please remember them all the time.” Each time Aroma finished her words, Precious Jade responded once. She continued: ‘I have packed your big fur sweater for pages and given to your servants. Put it on if you find it cold at the school. It won’t be like where people would take care of you. Your foot-warmer and hand-warmer are also packed，so you’ll have to order they to give the charcoal a stir from time to time. They’re so lazy, and they’ll do nothing if you don’t ask them. Then, you could be frozen out for it.” “Don’t worry!” said Precious Jade, “I know how to deal with it. And you people don’t be gloomy in this house. It will be good for you to spend some time with my Cousin Lin.” As he completed his dress, Aroma urged him to visit Granny Merchant, Master Merchant, and Lady Wang. After a short communication with Skybright and Musk, he went off to Grandma Merchant’s room, where he listened to some suggestions. Then on to Lady Wang’s, and then on to the study to visit his father Master Merchant.&lt;br /&gt;
This day, Merchant Jia came back home by chance. He was in conversation with his literary gentlemen when Precious Jade entered the room and saluted to him. Knowing that he was off to school, Master Merchant smiled sarcastically and said: “You’d better not use the word “study” again which makes me blush for you. In my mind, you might just play around as usual. At all events, I don’t want you here. You’ve contaminated my room.”&lt;br /&gt;
Master Merchant asked: “Who is in attendance on Precious Jade?”--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 12:06, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
只听见外面答应了一声，早进来三四个大汉，打千儿请安。贾政看时，认得宝玉奶姆之子，名唤李贵的，因向他道：“你们成日家跟他上学，他到底念了些什么书！倒念了些流言混话在肚子里，学了些精致的淘气。等我闲一闲，先揭了你的皮，再和那不长进的算账！”吓的李贵忙双膝跪下，摘了帽子碰头，连连答应“是”，又回说：“哥儿已念到第三本《诗经》，什么‘攸攸鹿鸣，荷叶浮萍’，小的不敢撒谎。”说的满坐哄然大笑起来，贾政也掌不住笑了。因说道：“那怕再念三十本《诗经》，也都是‘掩耳盗铃’，哄人而已。你去请学里太爷的安，就道我说的：什么《诗经》、古文，一概不用虚应故事，只是先把《四书》一齐讲明背熟，是最要紧的。”李贵忙答应“是”，见贾政无话，方退出去。&lt;br /&gt;
    &lt;br /&gt;
此时宝玉独站在院外，屏声静候，待他们出来便同走了。李贵等一面掸衣&lt;br /&gt;
服，一面说道：“哥儿可听见了不曾？先要揭我们的皮呢！人家的奴才跟主子&lt;br /&gt;
赚些好体面，我们这些奴才白陪着挨打受骂的。从此也可怜见些才好。”宝玉&lt;br /&gt;
笑道：“好哥哥，你别委屈，我明儿请你。”李贵道：“小祖宗，谁敢望‘请’，只求听一两句话就有了。”&lt;br /&gt;
    &lt;br /&gt;
说着又至贾母这边，秦钟早已来了，贾母正和他说话呢。于是二人见过，&lt;br /&gt;
辞了贾母。宝玉忽想起来未辞黛玉，又忙至黛玉房中来作辞。彼时黛玉在窗下&lt;br /&gt;
对镜理妆，听宝玉说上学去，因笑道：“好，这一去，可是要‘蟾宫折桂’了！我不能送你了。”&lt;br /&gt;
&lt;br /&gt;
There was a response from outside; then, three or four men came in and pay respects to  Master Jia. Master Jia recognized one of them was Noble Li, the son of Precious Jade’s wet nurse. Master Jia said to Noble Li,“ You follow him to go to school everyday. So, what books have he read? He just keeps some unreasonable and groundless words in his mind and learned some fine mischief. When I have free time, I will first peel you and then punish him.”These words scared Noble Li to kneel and remove his hat to kowtow with affirmative response. He also replied, “ The young master has been reading the third book ''The Book of Songs'', such as ‘Deer singing, lotus leaves floating.’ I don’t dare to lie.”These words led the whole room to burst into laughter; even Master Jia could not refrain from laughing. He said,“ Though he read thirty times ''The Book of Songs'' more, it was ‘Plug one's ears while stealing a bell’ — cheating himself. You go to pay your respects to the teacher of the school and convey my words: I don’t require him to understand ''The Book of Songs'' or ancient prose. The most important is to make him memorize ''The Four Books''.”Noble Li hurried to respond “Yes.”Seeing Master Jia was silent, he went out.&lt;br /&gt;
At that time, Precious Jade was standing out of the yard, waiting in silence. When they came out, he walked away with them. Noble Li dusted off his clothes and said,“ Have you heard that? He is going to peel us first! Other servants can earn some grace with their masters. We these slaves have to suffer beatings and receive scoldings with you. I hope you can pity us more.” Precious Jade laughed and said, “My dear brother, don’t feel wronged. I will treat you tomorrow. ”“My small ancestor, who dare look forward to your treating, I just beg for your kind words.”&lt;br /&gt;
They came to Granny Merchant’s when communicating. Perryellis had been there already, talking with Granny Merchant. They two met each other and bid farewell to Granny Merchant. Precious Jade suddenly remembered that he did not bid farewell to Mascara Jade. So, he hurried to her room when she was making herself up in front of a mirror under a window. Hearing Precious Jade was going to school, she laughed and said,“ Well, you are going to pluck cinnamon flowers in the Palace of the Moon. I can’t see you off.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
There was a response from outside; then, three or four men came in and paid respects to Master Jia. Master Jia recognized one of them was Noble Li, the son of Precious Jade’s wet nurse. Master Jia said to Noble Li, “You follow him to school every day. So, what books have he read? He just kept some unreasonable and groundless words in his mind and learned some fine mischief. When I have free time, I will first peel you and then punish him.”These words scared Noble Li to kneel and remove his hat to kowtow with affirmative response. He also replied, “ The young master has been reading the third book The Book of Songs, such as ‘Deer singing, lotus leaves floating.’ I don’t dare to lie.”These words led the whole room to burst into laughter; even Master Jia could not refrain from laughing. He said,“ Though he readThe Book of Songs thirty times more, it was ‘Plug one's ears while stealing a bell’ — cheating himself. You go to pay your respects to the teacher of the school and convey my words: I don’t require him to understand The Book of Songs or ancient prose. The most important thing is to make him memorize The Four Books.”Noble Li hurried to respond “Yes.”Seeing Master Jia was silent, he went out. At that time, Precious Jade was standing out in the yard, waiting in silence. When they came out, he walked away with them. Noble Li dusted off his clothes and said,“ Have you heard that? He is going to peel at us first! Other servants can earn some grace with their masters. We these slaves have to suffer beatings and receive scoldings with you. I hope you can pity us more.” Precious Jade laughed and said, “My dear brother, don’t feel wrong. I will treat you tomorrow. ”“My small ancestor, who dare look forward to your treatment , I just beg for your kind words.” They came to Granny Merchant’s when communicating. Perryellis had been there already, talking with Granny Merchant. They two met each other and bid farewell to Granny Merchant. Precious Jade suddenly remembered that he did not bid farewell to Mascara Jade. So, he hurried to her room when she was making herself up in front of a mirror under a window. Hearing Precious Jade was going to school, she laughed and said,“ Well, you are going to pluck cinnamon flowers in the Palace of the Moon. I can’t see you off.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 05:27, 14 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was a response from outside; then, three or four men came in and pay respects to  Master Jia. Master Jia recognized one of them was Expensive Gift, the son of Precious Jade’s wet nurse. Master Jia said to Noble Li,“ You follow him to go to school everyday. So, what books have he read? He just keeps some unreasonable and groundless words in his mind and learned some fine mischief. When I have free time, I will first peel you and then punish him.”These words scared Expensive Gift to kneel and remove his hat to kowtow with affirmative response. He also replied, “ The young master has been reading the third book ''The Book of Songs'', such as ‘Deer singing, lotus leaves floating.’ I don’t dare to lie.”These words led the whole room to burst into laughter; even Master Jia could not refrain from laughing. He said,“ Though he read thirty times ''The Book of Songs'' more, it was ‘Plug one's ears while stealing a bell’ — cheating himself. You go to pay your respects to the teacher of the school and convey my words: I don’t require him to understand ''The Book of Songs'' or ancient prose. The most important is to make him memorize ''The Four Books''.”Expensive Gift hurried to respond “Yes.”Seeing Master Jia was silent, he went out.&lt;br /&gt;
At that time, Precious Jade was standing out of the yard, waiting in silence. When they came out, he walked away with them. Expensive Gift dusted off his clothes and said,“ Have you heard that? He is going to peel us first! Other servants can earn some grace with their masters. We these slaves have to suffer beatings and receive scoldings with you. I hope you can pity us more.” Precious Jade laughed and said, “My dear brother, don’t feel wronged. I will treat you tomorrow. ”“My small ancestor, who dare look forward to your treating, I just beg for your kind words.”&lt;br /&gt;
They came to Lady Grandma’s when communicating. Perryellis had been there already, talking with Lady Grandma. They two met each other and bid farewell to Lady Grandma. Precious Jade suddenly remembered that he did not bid farewell to Mascara Jade. So, he hurried to her room when she was making herself up in front of a mirror under a window. Hearing Precious Jade was going to school, she laughed and said,“ Well, you are going to pluck cinnamon flowers in the Palace of the Moon. I can’t see you off.”--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 14:18, 24 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
宝玉道：“好妹妹，等我下学再吃晚饭。那胭脂膏子也等我来再&lt;br /&gt;
制。”唠叨了半日，方抽身去了。黛玉忙又叫住问道：“你怎么不去辞辞你宝姐&lt;br /&gt;
姐来？”宝玉笑而不答，一径同秦钟上学去了。&lt;br /&gt;
    &lt;br /&gt;
原来这义学也离家不远，原系当日始祖所立，恐族中子弟有力不能延师&lt;br /&gt;
者，即入此中读书。凡族中为官者，皆有帮助银两，以为学中膏火之费；举年高&lt;br /&gt;
有德之人为塾师。如今秦宝二人来了，一一的都互相拜见过，读起书来。自此&lt;br /&gt;
后，二人同来同往，同起同坐，愈加亲密。兼贾母爱惜，也常留下秦钟，一住三五天，自己重孙一般看待。因见秦钟家中不甚宽裕，又助些衣服等物。不上一两&lt;br /&gt;
月工夫，秦钟在荣府里便惯熟了。宝玉终是个不能安分守理的人，一味的随心&lt;br /&gt;
所欲，因此发了癖性，又向秦钟悄说：“咱们两个人，一样的年纪，况又同窗，以后不必论叔侄，只论兄弟朋友就是了。”先是秦钟不敢当，宝玉不从，只叫他“兄弟”，或叫他的表字“鲸卿”，也只得混着乱叫起来。&lt;br /&gt;
    &lt;br /&gt;
原来这学中虽都是本族子弟与些亲戚家的子侄，俗语说的好，“一龙九种，&lt;br /&gt;
种种各别”，未免人多了就有龙蛇混杂，下流人物在内。自秦宝二人来了，都生&lt;br /&gt;
的花朵儿一般的模样，又见秦钟腼腆温柔，未语先红，怯怯羞羞，有女儿之风；宝玉又是天生成惯能作小服低，赔身下气，性情体贴，话语缠绵。因此二人又这般亲厚，也怨不得那起同窗人起了嫌疑之念，背地里你言我语，诟淬谣诼，布满书房内外。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
“Don’t have supper till I’m back, dear cousin,” he begged. “And wait for me to mix your rouge.” After chatting for a while, he turned to leave. “Aren’t you going to say goodbye to Baochai?” Mascara Jade called after him. With no answer but a smile, he left with Qin Zhong.&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Now this Jia family school, which was only a li away, had been set up several generations earlier so that members of the clan who could not afford to engage a tutor would have somewhere to educate their sons. It was supported by those with official positions, who contributed according to the size of their stipends, and an elderly man of good reputation in the clan was elected to take charge of the boys’ instruction. When Precious Jade and Qin Zhong had been introduced to the other students, they embarked on their studies. From this day onward, the two of them became inseparable, going to school and leaving it together. And thanks to the Lady Dowager’s partiality, Qin Zhong often stayed for a few days with the Jia family. Indeed, she treated him like one of her own grandsons, giving him clothes, shoes and other necessities when she saw that his family was hard up. In less than a month, he was on good terms with everyone in the Rong Mansion. Since Precious Jade always followed his own bent regardless of what was due to his position, in his usual unconventional way he privately urged Qin Zhong: “We’re the same age, and schoolmates too. Let’s forget that we’re uncle and nephew and just be brothers and friends.” At first Qin Zhong would not agree with this, but since Precious Jade kept calling him “brother” or using his courtesy name, he started doing the same.&lt;br /&gt;
 &lt;br /&gt;
&lt;br /&gt;
Now although all the pupils in this school were members of the Jia clan or relations by marriage, as the proverb so aptly says, “A dragon begets nine offspring, each one different.” And inevitably among so many boys there were low types too, snakes mixed up with dragons. These two new arrivals were both remarkably handsome. Qin Zhong was bashful and gentle, so shy that he blushed like a girl before he spoke, while Precious Jade was naturally self-effacing and modest, considerate to others and pleasant in his speech. And they were on such intimate terms, it was no wonder that their schoolmates suspected the worst. They began to talk about the pair behind their backs, spreading ugly rumours inside the school and out.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 05:13, 14 April 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
1. Mascara Jade called after him. With no answer but a smile, he left with Qin Zhong.&lt;br /&gt;
→Precious Jade Merchant called after him. With no answer but a smile, he left with Qin Zhong.&lt;br /&gt;
2. Aren’t you going to say goodbye to Baochai&lt;br /&gt;
→ Aren’t you going to say goodbye to Precious Hairpin Marshgrass&lt;br /&gt;
3.  Qin Zhong often stayed for a few days with the Jia family&lt;br /&gt;
→Qin Zhong often stayed for a few days with the Merchant family&lt;br /&gt;
&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 06:15, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
原来薛蟠自来王夫人处住后，便知有一家学，学中广有青年子弟，偶动了&lt;br /&gt;
“龙阳”之兴，因此也假说了来上学，不过是“三日打鱼，两日晒网”，白送些束脩礼物与贾代儒，却不曾有一些进益，只图结交些契弟。谁想这学内的小学生，图了薛蟠的银钱穿吃，被他哄上手的，也不消多记。又有两个多情的小学牛，亦不知是那一房的亲眷，亦未考真姓名，只因生得妩媚风流，满学中都送了两个外&lt;br /&gt;
号，一叫“香怜”，一叫“玉爱”。虽系都有窃慕之意，将“不利于孺子”之心，只是都惧薛蟠的威势，不敢来沾惹。如今秦宝二人一来了，见了他两个，亦不免缱绻羡爱，亦皆知系薛蟠相知，故未敢轻举妄动；香玉二人心中，一般的留情与秦宝。因此四人心中虽有情意，只未发迹。每日一人学中，四处各坐，却八目勾留，或设言托意，或咏桑寓柳，遥以心照，却外面自为避人眼目。不料偏又有几个滑贼看出形景来，都背后挤眉弄眼，或咳嗽扬声。这也非止一日。&lt;br /&gt;
    &lt;br /&gt;
可巧这日代儒有事回家，只留下一句七言对联，令学生对了明日再来上&lt;br /&gt;
书；将学中之事，又命长孙贾瑞管理。妙在薛蟠如今不大上学应卯了，因此秦钟&lt;br /&gt;
趁此和香怜弄眉挤眼，二人假出小恭，走至后院说话。秦钟先问他：“家里的大&lt;br /&gt;
人可管你交朋友不管？”一语未了，只听见背后咳嗽了一声，二人吓的忙回顾时，&lt;br /&gt;
原来是窗友名金荣的。香怜本有些性急，便羞怒相激，问他道：“你咳嗽什么？&lt;br /&gt;
难道不许我们说话不成？”&lt;br /&gt;
Indeed， after Hsueeh P'an had come over to take up his quarters in madame Wang's suite of apartments， he shortly came to hear of the existence of a family school， and that this school was mainly attended by young fellows of tender years， and inordinate ideas were suddenly aroused in him. While he therefore fictitiously gave out that he went to school， [he was as irregular in his attendance as the fisherman] who catches fish for three days， and suns his nets for the next two； simply presenting his school-fee gift to Chia Tai-jui and making not the least proGREss in his studies； his sole dream being to knit a number of familiar friendships. Who would have thought it， there were in this school young pupils， who， in their greed to obtain money， clothes and eatables from Hsueeh P'an， allowed themselves to be cajoled by him， and played tricks upon； but on this topic， it is likewise superfluous to dilate at any length.&lt;br /&gt;
&lt;br /&gt;
there were also two lovable young scholars， relatives of what branch of the family is not known， and whose real surnames and names have also not been ascertained， who， by reason of their good and winsome looks， were， by the pupils in the whole class， given two nicknames， to one that of &amp;quot;Hsiang Lin，&amp;quot; &amp;quot;Fragrant Love，&amp;quot; and to the other &amp;quot;Yue Ai，&amp;quot; &amp;quot;Precious Affection.&amp;quot; But although every one entertained feelings of secret admiration for them， and had the wish to take liberties with the young fellows， they lived， nevertheless， one and all， in such terror of Hsueeh P'an's imperious influence， that they had not the courage to come forward and interfere with them.&lt;br /&gt;
&lt;br /&gt;
As soon as Ch'in Chung and Pao-yue had， at this time， come to school， and they had made the acquaintance of these two fellow-pupils， they too could not help becoming attached to them and admiring them， but as they also came to know that they were GREat friends of Hsueeh P'an， they did not， in consequence， venture to treat them lightly， or to be unseemly in their behaviour towards them. Hsiang Lin and Yue Ai both kept to themselves the same feelings， which they fostered for Ch'in Chung and Pao-yue， and to this reason is to be assigned the fact that though these four persons nurtured fond thoughts in their hearts there was however no visible sign of them. Day after day， each one of them would， during school hours， sit in four distinct places： but their eight eyes were secretly linked together； and， while indulging either in innuendoes or in double entendres， their hearts， in spite of the distance between them， reflected the whole number of their thoughts.&lt;br /&gt;
&lt;br /&gt;
But though their outward attempts were devoted to evade the detection of other people's eyes， it happened again that， while least expected， several sly lads discovered the real state of affairs， with the result that the whole school stealthily frowned their eyebrows at them， winked their eyes at them， or coughed at them， or raised their voices at them； and these proceedings were， in fact， not restricted to one single day.&lt;br /&gt;
&lt;br /&gt;
As luck would have it， on this day Tai-jui was， on account of business， compelled to go home； and having left them as a task no more than a heptameter line for an antithetical couplet， explaining that they should find a sentence to rhyme， and that the following day when he came back， he would set them their lessons， he went on to hand the affairs connected with the class to his elder grandson， Chia Jui， whom he asked to take charge.&lt;br /&gt;
Wonderful to say Hsueeh P'an had of late not frequented school very often， not even so much as to answer the roll， so that Ch'in Chung availed himself of his absence to ogle and smirk with Hsiang Lin； and these two pretending that they had to go out， came into the back court for a chat.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Does your worthy father at home mind your having any friends？&amp;quot; Ch'in Chung was the first to ask. But this sentence was scarcely ended， when they heard a sound of coughing coming from behind. Both were taken much aback， and， speedily turning their heads round to see， they found that it was a fellow-scholar of theirs， called Chin Jung.&lt;br /&gt;
&lt;br /&gt;
Hsiang Lin was naturally of somewhat hasty temperament， so that with shame and anger mutually impelling each other， he inquired of him， &amp;quot;What's there to cough at？ Is it likely you wouldn't have us speak to each other？&amp;quot;&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 11:53, 13 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Indeed, after Dragon Marshgrass had come over to take up his quarters in Lady King's suite of apartments, he shortly came to hear of the existence of a family school, and that this school was mainly attended by young fellows of tender years, and inordinate ideas were suddenly aroused in him. While he therefore fictitiously gave out that he went to school, he was as irregular in his attendance as the fisherman who catches fish for three days, and suns his nets for the next two; simply presenting his school-fee gift to Confucianism Merchant and making not the least progress in his studies; he just wanted to make friends with some guys.&lt;br /&gt;
Who would have thought it, the pupils in this school aimed at the money, clothes and food from Dragon Marshgrass, allowing themselves to be cajoled by him and played tricks upon; there was no need to say more.&lt;br /&gt;
There were also two lovable young scholars, relatives of what branch of an unknown family, and whose real names had also not been ascertained, who, by reason of their good and winsome looks, were, by the pupils in the whole class, given two nicknames, to one that of &amp;quot;Fragrant Pretty,&amp;quot; and to the other &amp;quot;Jade Love.&amp;quot; But although every one entertained feelings of secret admiration for them, and had the wish to take liberties with the young fellows, they lived, nevertheless, one and all, in such terror of Dragon Marshgrass's imperious influence, that they had not the courage to come forward and interfere with them.&lt;br /&gt;
As soon as Clock Grain and Precious Jade had come to school at this time, and they had made the acquaintance of these two fellow-pupils, they too could not help becoming attached to them and admiring them, but as they also came to know that they were great friends of Dragon Marshgrass, they did not venture to treat them lightly in consequence, or to be unseemly in their behaviour towards them. Fragrant Pretty and Jade Love both kept to themselves the same feelings, which they fostered for Clock Grain and Precious Jade, and to this reason is to be assigned the fact that though these four persons nurtured fond thoughts in their hearts there was however no visible sign of them. Day after day, each one of them would sit in four distinct places during school hours: but their eight eyes were secretly linked together; and while indulging either in innuendoes or in double entendres, their hearts reflected the whole number of their thoughts in spite of the distance between them.&lt;br /&gt;
&lt;br /&gt;
But though their outward attempts were devoted to evade the detection of other people's eyes, it happened again that, while least expected, several sly lads discovered the real state of affairs, with the result that the whole school stealthily frowned their eyebrows at them, winked their eyes at them, or coughed at them, or raised their voices at them; and these proceedings were not restricted to one single day in fact.&lt;br /&gt;
&lt;br /&gt;
As luck would have it, on this day Confucianism was, on account of business, compelled to go home； and having left them as a task no more than a heptameter line for an antithetical couplet, explaining that they should find a sentence to rhyme, and that the following day when he came back, he would set them their lessons, he went on to hand the affairs connected with the class to his elder grandson, Omen Merchant, whom he asked to take charge. Wonderful to say Dragon Marshgrass had of late not frequented school very often, not even so much as to answer the roll， so that Clock Grain availed himself of his absence to ogle and smirk with Fragrant Pretty; and these two pretending that they had to go out, came into the back court for a chat.&lt;br /&gt;
&amp;quot;Does your worthy father at home mind your having any friends?&amp;quot; Clock Grain was the first to ask. But this sentence was scarcely ended, when they heard a sound of coughing coming from behind. Both were taken much aback, and, speedily turning their heads round to see, they found that it was a fellow-scholar of theirs, called Honor Gold.&lt;br /&gt;
Fragrant Pretty was naturally of somewhat hasty temperament, so that with shame and anger mutually impelling each other, he inquired of him, &amp;quot;What's there to cough at? Is it likely you wouldn't have us speak to each other?&amp;quot; --[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 13:26, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
金荣笑道：“许你们说话，难道不许我咳嗽不成？我只问你们：有话不分明说，许你们这样鬼鬼祟祟的干什么故事？我可也拿住了，还赖什么！先让我抽个头儿，咱们一声儿不言语，不然大家就翻起来！”秦香二人就急得飞红的脸，便问道：“你拿住什么了？”金荣笑道：“我现拿住了是真的。”说着又拍着手笑嚷道：“贴的好烧饼！你们都不买一个吃去？”秦钟香怜二人又气又恼，忙进来向贾瑞前告金荣，说金荣无故欺负他两个。&lt;br /&gt;
    &lt;br /&gt;
原来这贾瑞最是个图便宜没行止的人，每在学中以公报私，勒索子弟们请&lt;br /&gt;
他；后又助着薛蟠图些银钱酒肉，一任薛蟠横行霸道，他不但不去管约，反“助纣为虐”讨好儿。偏那薛蟠本是浮萍心性，今日爱东，明日爱西，近来有了新朋友，把香玉二人丢开一边；就连金荣也是当日的好友，自有了香玉二人，便见弃了金荣，近日连香玉亦已见弃。故贾瑞也无了提携帮衬之人，不怨薛蟠得新厌故，只怨香玉二人不在薛蟠前提携了。因此贾瑞金荣等一干人，也正醋妒他两个。今&lt;br /&gt;
见秦香二人来告金荣，贾瑞心中便不自在起来，虽不敢呵叱秦钟，却拿着香怜作&lt;br /&gt;
法，反说他多事，着实抢白了几句。香怜反讨了没趣，连秦钟也讪讪的各归坐位&lt;br /&gt;
去了。金荣越发得了意，摇头咂嘴的，口内还说许多闲话，玉爱偏又听了，两个&lt;br /&gt;
人隔坐咕咕唧唧的角起口来。金荣只一口咬定说：“方才明明的撞见他两个在&lt;br /&gt;
后院里亲嘴摸屁股，两个商议定了，一对儿论长道短之言。”&lt;br /&gt;
&lt;br /&gt;
Honor Gold observed laughing,&amp;quot;I don't mind your speaking, but why am I not allowed to cough? I just want to ask you, that if you have anything to say, why not utter it in intelligible language? Why do you speak so sneakily? But I have sure enough found you out, and you can't deny it! But if you will, first of all, let me partake of a share in your little game, you and I can hold our tongue and utter not a word. If not, let’s turn the matter over.&amp;quot; &lt;br /&gt;
At these words, Clock Grain and Fragrant Pretty were so exasperated that their blood rushed up to their faces. &amp;quot;What have you found out?&amp;quot; They hastily asked. Replied Honor Gold smiling, &amp;quot;What I have now detected is the plain truth!&amp;quot; And saying this he went on to clap his hands and to call out with a loud voice as he laughed: &amp;quot;They have moulded some nice well-baked cakes, won't you fellows come and buy one to eat!&amp;quot; (These two have been up to larks, won't you come and have some fun!) Both Clock Grain and Fragrant Pretty felt resentful as well as fuming with rage, and with hurried step they went in, in search of Omen Merchant, to whom they reported Honor Gold, explaining that Honor Gold had insulted them both without any rhyme or reason.&lt;br /&gt;
&lt;br /&gt;
The fact is that this Omen Merchant was, in an extraordinary degree, a man with an eye to the main chance, and devoid of any sense of propriety. His wont was at school to take advantage of public matters to serve his private interest, and to bring pressure upon his pupils with the intent that they should regale him. While subsequently he also lent his countenance to Dragon Marshgrass, scheming to get some money or eatables out of him, he left him entirely free to indulge in disorderly behaviour; and not only did he not go out of his way to hold him in check, but, on the contrary, he encouraged him, infamous though he was already, to become a bully, so as to curry favour with him. But this Dragon Marshgrass was, by nature, gifted with a fickle disposition; today, he would incline to the east, and tomorrow to the west, so that having recently obtained new friends, he put Fragrant Pretty and Jade Love aside. &lt;br /&gt;
Honor Gold too was at one time an intimate friend of his, but ever since he had acquired the friendship of the two lads, Fragrant Pretty and Jade Love, he forthwith deposed Honor Gold. Of late, he had already come to look down upon even Fragrant Pretty and Jade Love, with the result that Honor Gold as well was deprived of those who could lend him support, or stand by him; but he bore Dragon Marshgrass no grudge, for wearying with old friends, as soon as he found new ones, but felt angry that Fragrant Pretty and Jade Love had not put in a word on his behalf with Dragon Marshgrass. Omen Merchant, Honor Gold and in fact the whole crowd of them were, for this reason, just harbouring a jealous grudge against these two, so that when he saw Clock Grain and Fragrant Pretty come on this occasion and lodge a complaint against Honor Gold, Omen Merchant readily felt displeasure creep into his heart; and, although he did not venture to call Clock Grain to account, he nevertheless made an example of Fragrant Pretty. And instead (of taking his part), he called him a busybody and denounced him in much abusive language, with the result that Fragrant Pretty did not, contrariwise, profit in any way, but brought displeasure upon himself. Even Clock Grain grumbled against the treatment, as each of them resumed their places. Honor Gold became still more haughty, and wagging his head and smacking his lips, he gave vent to many more abusive epithets; but as it happened that they also reached Jade Love's ears, the two of them, though seated apart, began an altercation in a loud tone of voice. Honor Gold, with obstinate pertinacity, clung to his version. &amp;quot;Just a short while back,&amp;quot; he said, &amp;quot;I actually came upon them, as they were indulging in demonstrations of intimate friendship in the back court. These two had resolved to be one in close friendship, and were eloquent in their protestations.”&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 23:24, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Honor Gold laughed,&amp;quot;I don't mind your speaking, but why am I not allowed to cough? I just want to ask you, that if you have anything to say, why not utter it in intelligible language? Why do you speak so sneakily? But I have sure enough found you out, and you can't deny it! But if you will, first of all, let me partake of a share in your little game, you and I can hold our tongue and utter not a word. If not, let’s turn the matter over.&amp;quot; &lt;br /&gt;
After these words, Clock Grain and Fragrant Pretty were so exasperated that their blood rushed up to their faces. &amp;quot;What have you found out?&amp;quot; They hastily asked. Replied Honor Gold smiling, &amp;quot;What I have now found out is the plain truth!&amp;quot; And saying this he went on to clap his hands and to call out in a loud voice as he laughed: &amp;quot;They have moulded some nice well-baked cakes, won't you fellows come and buy one to eat!&amp;quot; (These two have been up to larks, won't you come and have some fun!) Both Clock Grain and Fragrant Pretty felt resentful as well as fuming with rage, and with hurried step they went in, in search of Omen Merchant, to whom they reported Honor Gold, explaining that Honor Gold had insulted them both without any rhyme or reason.&lt;br /&gt;
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The fact is that this Omen Merchant was, in an extraordinary degree, a man with an eye to the main chance, and devoid of any sense of propriety. His wont was at school to take advantage of public matters to serve his private interest, and to bring pressure upon his pupils with the intent that they should regale him. While subsequently he also lent his countenance to Dragon Marshgrass, scheming to get some money or eatables out of him, he left him entirely free to indulge in disorderly behaviour; and not only did he not go out of his way to hold him in check, but, on the contrary, he encouraged him, infamous though he was already, to become a bully, so as to curry favour with him. But this Dragon Marshgrass was, by nature, gifted with a fickle disposition; today, he would incline to the east, and tomorrow to the west, so that having recently obtained new friends, he put Fragrant Pretty and Jade Love aside. &lt;br /&gt;
Honor Gold too was at one time an intimate friend of his, but ever since he had acquired the friendship of the two lads, Fragrant Pretty and Jade Love, he forthwith deposed Honor Gold. Of late, he had already come to look down upon even Fragrant Pretty and Jade Love, with the result that Honor Gold as well was deprived of those who could lend him support, or stand by him; but he bore Dragon Marshgrass no grudge, for wearying with old friends, as soon as he found new ones, but felt angry that Fragrant Pretty and Jade Love had not put in a word on his behalf with Dragon Marshgrass. Omen Merchant, Honor Gold and in fact the whole crowd of them were, for this reason, just harbouring a jealous grudge against these two, so that when he saw Clock Grain and Fragrant Pretty come on this occasion and lodge a complaint against Honor Gold, Omen Merchant readily felt displeasure creep into his heart; and, although he did not venture to call Clock Grain to account, he nevertheless made an example of Fragrant Pretty. And instead (of taking his part), he called him a busybody and denounced him in much abusive language, with the result that Fragrant Pretty did not, contrariwise, profit in any way, but brought displeasure upon himself. Even Clock Grain grumbled against the treatment, as each of them resumed their places. Honor Gold became still more haughty, and wagging his head and smacking his lips, he gave vent to many more abusive epithets; but as it happened that they also reached Jade Love's ears, the two of them, though seated apart, began an altercation in a loud tone of voice. Honor Gold, with obstinate pertinacity, clung to his version. &amp;quot;Just a short while back,&amp;quot; he said, &amp;quot;I actually came upon them, as they were indulging in demonstrations of intimate friendship in the back court. These two had resolved to be one in close friendship, and were eloquent in their protestations.”&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 23:16, 15 June 2021 (UTC)&lt;br /&gt;
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=Tāng Huì 汤惠=&lt;br /&gt;
只顾得志乱说，却不防还有别人，谁知早又触怒了一个人。你道这一个人是谁？&lt;br /&gt;
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原来这人名唤贾蔷，亦系宁府中之正派玄孙，父母早亡，从小儿跟着贾珍&lt;br /&gt;
过活，如今长了十六岁，比贾蓉生得还风流俊俏。他兄弟二人最相亲厚，常共起&lt;br /&gt;
居，宁府中人多口杂，那些不得志的奴仆，专能造言诽谤主人，因此不知又有什&lt;br /&gt;
么小人诟谇谣诼之辞。贾珍想亦风闻得些口声不好，白已也要避些嫌疑，如今&lt;br /&gt;
竟分与房舍，命贾蔷搬出宁府，自己立门户过活去了。这贾蔷外相既美，内性又&lt;br /&gt;
聪敏，虽然应名来上学，亦不过虚掩眼目而已；仍是斗鸡走狗、赏花阅柳为事。&lt;br /&gt;
上有贾珍溺爱，下有贾蓉匡助，因此族中人谁敢触逆于他。他既和贾蓉最好，今&lt;br /&gt;
见有人欺负秦钟，如何肯依？如今自己要挺身出来报不平，心中且忖度一番：&lt;br /&gt;
“金荣贾瑞一等人，都是薛大叔的相知，我又与薛大叔相好，倘或我一出头，他们告诉了老薛，我们岂不伤和气？欲不管，如此谣言，说的大家没趣。如今何不用计制伏，又止息声口，又不伤脸面。”想毕，也装出小恭去，走至后面，悄悄把跟宝玉的书童茗烟叫至身边，如此这般，调拨他几句。&lt;br /&gt;
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这茗烟乃是宝玉第一个得用的，且又年轻不谙事，如今听贾蔷说：“金荣如&lt;br /&gt;
此欺负秦钟，连你的爷宝玉都干连在内，不给他个知道，下次越发狂纵了。”这茗烟无故就要欺压人的，如今得了这信，又有贾蔷助着，便一头进来找金荣，也不叫“金相公”了，&lt;br /&gt;
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He held forth wildly regardless of who might hear, although one of his listeners was already enraged. And who do you think this was? It was Rose Merchant, a direct descendant of the Duke of Ningguo, who had been brought up by Cousin Merchant after the untimely death of his own parents. He was now sixteen and even more handsome and engaging than Prosperity Merchant, from whom he was virtually inseparable.&lt;br /&gt;
Now “the more people, the more talk,” and the disgruntled servants in the Ning Mansion were good for nothing but slandering their masters. When their dirty talk reached Cousin Merchant’s ears, to avoid coming under suspicion himself he had given Rose Merchant his own establishment outside the Ning Mansion and told him to live on his own.&lt;br /&gt;
Rose Merchant was as intelligent as he was handsome, but he attended the school only as a blind for his visits to cock-fights, dog-races and brothels. None of his clansmen dared to cross him, however, because he was a favorite with Cousin Merchant and had Prosperity Merchant to stand by him. Naturally, intimate as he was with them, he was not going to let anyone bully Clock Qin with impunity! His first impulse was to take his side openly, but on second thought he decided, “ Prosperity Merchant, Omen Merchant and that lot are thick with Uncle Xue, who has always been on good terms with me. If I side against them and they tell Uncle Xue,that will spoil our friendly relations. If I do nothing, though, they‘ll just spread these tiresome rumors. I must find some way of stopping their mouths without any loss of face.” He left the moon on te customary excuse and quietly got hold of Tealeaf, one of Precious Jade’s pages, to work on his feelings with his account of matter. Tealeaf was Precious Jade’s most serviceable page but he was young and inexperienced. Rose Merchant told him that the insults to Clock Qin reflected on his master, and if Prosperity Merchant were allowed to get away with this he would take even greater liberties the next time. Tealeaf always liked to throw his weight about, and with this encouragement from Rose Merchant he rushed in to beard Prosperity Merchant. Not addressing him as a servant should,&lt;br /&gt;
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He held forth wildly regardless of who might hear, although one of his listeners was already enraged. And who do you think it was? It was Rose Merchant, a direct descendant of the Duke of Ningguo,who had been brought up by Precious Merchant after the untimely death of his own parents. He was now sixteen and even more handsome and engaging than Lotus Mercahnt, from whom he was virtually inseparable.&lt;br /&gt;
Now “the more people, the more talk,” and the disgruntled servants in the Ning Mansion were good for nothing but slandering their masters. When their dirty talk reached Precious Merchant’s ears, to avoid coming under suspicion himself he had given Rose Merchant his own establishment outside the Ning Mansion and told him to live on his own. Rose Merchant was as intelligent as he was handsome, but he attended the school only as a blind for his visits to cock-fights, dog-races and brothels. None of his clansmen dared to cross him, however, because he was especially loved Precious Merchant and was supported by Lotus Merchant . Naturally, intimate as he was with them, he was not going to let anyone bully Clock Qin with impunity. His first impulse was to take his side openly, but on the second thought he decided, “ Honor Gold, Omen Merchant and that lot are thick with Uncle Xue, who has always been on good terms with me. If I side against them and they tell Uncle Xue,that will spoil our friendly relations. If I do nothing, though, they'll just spread these tiresome rumors. I must find some way of stopping their mouths without any loss of reputation.” He left the moon on the customary excuse and quietly got hold of Tealeaf, one of Precious Jade's pages, to work on his feelings with his account of matter.&lt;br /&gt;
Tealeaf was Precious Jade's most serviceable page but he was young and inexperienced. Rose Merchant told him that the insults to Clock Qin reflected on his master, and if Honor Gold were allowed to get away with this he would take even greater liberties the next time. Tealeaf always liked to throw her weight about, and with the encouragement from Rose Merchant she rushed in to beard Honor Merchant. Not addressing him as a servant should,--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 12:04, 13 April 2021 (UTC)&lt;br /&gt;
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=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
只说：“姓金的，是什么东西！”贾蔷遂跺一跺靴子，故意整整衣服，看看日影儿说：“正时候了。”遂先向贾瑞说有事要早走一步。贾瑞不敢止他，只得随他去了。&lt;br /&gt;
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这里茗烟走进来，便一把揪住金荣问道：“我们臊屁股不臊，管你相干？横竖没臊你爹就罢了！你是好小子，出来动一动你茗大爷！”吓的满室中子弟都芒芒的痴望。贾瑞忙喝：“茗烟不得撒野！”金荣气黄了脸，说：“反了！奴才小子都敢如此，我只和你主子说。”便夺手要去抓打宝玉。秦钟刚转出身来，听得脑后飕的一声，早见一方砚瓦飞来，并不知系何人打来，却打了贾蓝贾菌的座上。&lt;br /&gt;
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这贾蓝贾菌亦系荣府近派的重孙，这贾菌少孤，其母疼爱非常，书房中与贾蓝最好，所以二人同坐。谁知这贾菌年纪虽小，志气最大，极是淘气不怕人的。他在位上，冷眼看见金荣的朋友暗助金荣，飞砚来打茗烟，偏打错了落在自己面前，将个磁砚水壶儿打粉碎，溅了一书墨水。贾菌如何依得，便骂：“好囚攮的们，这不都动了手了么！”骂着，也便抓起砚砖来要飞。贾蓝是个省事的，忙按住砚砖，极口劝道：“好兄弟，不与咱们相干。”贾菌如何忍得，见按住砚砖，他便两手抱起书箧子来，照这边揕了来。终是身小力薄，却揕不到，反揕至宝玉秦钟案上就落下来了。只听豁啷一响，砸在桌上，书本、纸片、笔、砚等物，撒了一桌；又把宝玉的一碗茶也砸得碗碎茶流。那贾菌即便跳出来，要揪打那飞砚的人。&lt;br /&gt;
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She only said,&amp;quot;Who the hell is the one named Gold!&amp;quot; Rose Merchant stamped her feet, smoothed her clothes, looked at the shadow of sunlight ,and said,&amp;quot;Time to go.&amp;quot; Then, she asked Omen Merchant for a leave. Omen dared not stop her, only letting her go.&lt;br /&gt;
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After Tealeaf walked in, she got Honor Gold by his collar and asked,&amp;quot;Whether our asses are smelly or not, as long as we don't make your father sick, it's none of your business! You good boy, dare you come out and beat your grandfather Tealeaf?&amp;quot; Watching her dazedly, everyone in the room was frightened by her words. Omen Merchant hurriedly shouted,&amp;quot; Tealeaf, you are not allowed to act like this here!&amp;quot; Honor Gold was so angry that his face turned yellow. He yelled,&amp;quot; Are you trying to rebel me? Even a maid dares to say so! I will talk to your master,&amp;quot; and intended to beat Precious Jade immediately. It was when Clock Qin walked out when he heard something whooshed behind. He found a tile flew there and hit the seats of Blue Merchant and Mushroom Merchant, not knowing who knew it.&lt;br /&gt;
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Blue Merchant and Mushroom Merchant are also great-grandsons of the Rong family. Mushroom Merchant lost his father at a young age and so was dearly loved by his mother. He got along with Blue Merchant the best in the schoolroom, and so they sat together. It was unexpected that Mushroom Merchant, the youngest boy, had the greatest ambition. He was very naughty and wasn't afraid anyone. He just stayed in his seat, watched the everything coldly: a friend was trying to secretly help Honor Gold, so he threw a tile to Tealeaf, but mistakenly landed in front of him and broke his inkstone kettle, splashing the ink on his books. Mushroom Merchant couldn't bear it and cursed,&amp;quot; What a prisoner's child! He hit others!&amp;quot; Saying so, he also grasped up the inkstone, intending to throw it back. Blue Merchant was a peacekeeper. Seeing this scene, he hurriedly stopped Mushroom Merchant and said,&amp;quot; My brother, it's none of our business.&amp;quot; How could Mushroom Merchant stand this? He turned to raise the book case and threw it back. However, the it only reached the desk of Precious Jade and Clock Qin bucause of his weakness in strength. Bang! The books, the paper, the bush pens, the inkstone... Everything on the desk was scattered, and Precious Jade's tea bowl also got broken, the tea water spilling out messily. Mushroom Merchant jumped out, trying to beat the one who threw the inkstone.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 14:33, 10 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
She only said,&amp;quot;Who the hell is the one named Gold!&amp;quot; Rose Merchant stamped her feet, smoothed her clothes, looked at the shadow of sunlight ,and said,&amp;quot;Time to go.&amp;quot; Then, she asked Omen Merchant for a leave. Omen dared not stop her, only letting her go.&lt;br /&gt;
&lt;br /&gt;
Tealeaf walked in and got Honor Gold by his collar,asking ,&amp;quot;Whether our asses are smelly or not, as long as we don't make your father sick, it's none of your business! You good boy, dare you come out and beat your grandfather Tealeaf?&amp;quot; Watching her dazedly, everyone in the room was frightened by her words. Omen Merchant hurriedly shouted,&amp;quot; Tealeaf, you are not allowed to act like this here!&amp;quot; Honor Gold was so angry that his face turned yellow. He yelled,&amp;quot; Are you trying to rebel me? Even a maid dares to say so! I will only talk to your master,&amp;quot; and intended to beat Precious Jade immediately. It was when Clock Qin walked out that he heard something whooshed behind. He found a tile flew there and hit the seats of Blue Merchant and Mushroom Merchant, not knowing who did it.&lt;br /&gt;
&lt;br /&gt;
Blue Merchant and Mushroom Merchant are also great-grandsons of the Rong family. Mushroom Merchant lost his father at a young age and so was dearly loved by his mother. He got along with Blue Merchant the best in the schoolroom, and so they sat together. It was unexpected that Mushroom Merchant, the youngest boy, had the greatest ambition. He was very naughty and wasn't afraid anyone. He just stayed in his seat, watched the everything coldly: a friend was trying to secretly help Honor Gold, so he threw a tile to Tealeaf, but mistakenly landed in front of him and broke his inkstone kettle, splashing the ink on his books. Mushroom Merchant couldn't bear it and cursed,&amp;quot; What a prisoner's child! He hit others!&amp;quot; Saying so, he also grasped up the inkstone, intending to throw it back. Blue Merchant was a peacekeeper. Seeing this scene, he hurriedly stopped Mushroom Merchant and said,&amp;quot; My brother, it's none of our business.&amp;quot; How could Mushroom Merchant stand this? He turned to raise the book case and threw it back. However, the it only reached the desk of Precious Jade and Clock Qin bucause of his weakness in strength. Bang! The books, the paper, the bush pens, the inkstone... Everything on the desk was scattered, and Precious Jade's tea bowl also got broken, the tea water spilling out messily. Mushroom Merchant jumped out, trying to beat the one who threw the inkstone.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 14:41, 13 April 2021 (UTC)--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 13:58, 26 April 2021 (UTC)&lt;br /&gt;
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=Téng Bìxiá 滕璧霞=&lt;br /&gt;
金荣此时随手抓了一根毛竹大板在手，地狭人多，那里经得舞动长板。茗烟早吃了一下，乱嚷：“你们还不来动手？”宝玉还有几个小厮：一名扫红，一名锄药，一名墨雨，这三个岂有不淘气的，一齐乱壤：“小妇养的！动了兵器了！”墨雨遂掇起一根门闩，扫红锄药手中都是马鞭子，蜂拥而上。贾瑞急得拦一回这个，劝一回那个，谁听他的话？肆行大乱。众顽童也有帮着打太平拳助乐的，也有胆小藏过一边的，也有立在桌上拍着手乱笑，喝着声儿叫打的。登时鼎沸起来。&lt;br /&gt;
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外边几个大仆人李贵等听见里边作反起来，忙都进来一齐喝住，问是何故，众声不一，这一个如此说，那一个又如彼说。李贵且喝骂了茗烟等四个一顿，撵了出去。秦钟的头早撞在金荣的板上，打去一层油皮，宝玉正拿褂襟子替&lt;br /&gt;
他揉，见喝住了众人，便命：“李贵，收书！拉马来，我去回太爷去！我们被人欺负了，不敢说别的，守礼来告诉瑞大爷，瑞大爷反派我们的不是，听着人家骂我们，还调唆人家打我们。茗烟见人欺负我们，岂有不为我的；他们反打伙儿打了茗烟，连秦钟的头也打破了。还在这里念书么？”李贵劝道：“哥儿不要性急，太爷既有事回家去了，这会子为这点子事去聒噪他老人家，倒显的咱们没礼似的。&lt;br /&gt;
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依我的主意，那里的事情那里了结，何必惊动老人家。这都是瑞大爷的不是，太爷不在这里，你老人家就是这学里的头脑了，众人看你行事。众人有了不是，该打的打，该罚的罚，如何等闹到这步田地还不管？”&lt;br /&gt;
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At this moment, Honor Gold grabbed a bamboo board in his hand. The place was so narrow and crowded that he could not swing the board.Tealeaf smoke early ate once, disorderly shouted: &amp;quot;you still don't come to fight with Honor Gold? Precious Jade also had several young fellows: Sweep Red, Ploughboy, Inky. Three of them were naughty, yelling together: Son of bitch! Dare to use your weapon!&amp;quot;Inky then picked up a latch, Sweep Red and Ploughboy took the whips, swarming in. Omen Merchant hurrird to stop one side and advised another. But who could listen to his words? Everyone acted recklessly, and the scene was very chaotic. Some of the urchins booed with Taipingquan, some timid ones hid aside, and some stood on the table, clapping their hands,laughing, screaming. Hearing the noise inside, Expensive Gift together with seversl other big servants outside quickly came in to call a halt, asking the cause. But there were different voices. Some said this while others said that. Expensive Gift scolded Tealeaf and the other four and drove them out. Clock Qin’s head hit Honor Gold’s board, with a layer of oil being blown off.Precious Jade was rubbing Qin's head with his jacket. Finding that Expensive Gift scolded, he ordered, &amp;quot;Expensive Gift, take the books! You took the horse here, and I will tell the Master! We are bullied but dare not say other. In accordance with the etiquette to tell the uncle Omen Merchant, he think it is our fault, not only letting others scold us, but also instigating others hit us.Seeing people bully us,Tealeaf must came out for us.They attack Tealeaf, and even Clock Qin's head was broken. Can I still study here?&amp;quot; Expensive Gift persuaded:&amp;quot; Don't be impatient. The grandfather has something to go home.If we bother him for this matter at this time, it seems that we are impolite.In my opinion, we solve the problem in here. There is no need to interupt him. It is Jia Rui`s fault. The master is not here,and you are the leader of this school, others follow what you say. If someone makes mistakes, you should hit and punish them, how to wait for the trouble to get to such a field?&amp;quot; --[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 04:13, 11 April 2021 (UTC)&lt;br /&gt;
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At this moment, Honor Gold grabbed a bamboo board in his hand. The place was so narrow and crowded that he could not swing the board. Tealeaf Smoke had roared once and shouted freely: &amp;quot;you still don't come to fight with Honor Gold?” Precious Jade also had several young servants: one is called a Sweep Red, one called a Hoe Medicine, and the last called Ink Rain. They were all very naughty, yelling together: Son of bitch! Dare to use your weapon!&amp;quot; Ink Rain then picked up a latch. Sweep Red and Hoe Medicine took the whips in their hands, swarming up. Omen Jia hurrird to stop one side and another. But who was willing to listen to him? Everyone acted recklessly. The scene was very chaotic. Some of the urchins booed with Taiping Quan, some timid ones hid aside. Some stood on the table, clapping their hands, laughing, and screaming. Hearing the noise inside, Li Gui together with several senior servants outside quickly came in to call a halt and asked why there is such an uproar. They all gave different excuses. Some said this while others said that. Li Gui scolded Tealeaf Smoke and the other four and drove them out. Qin Zhong’s head had been hit by Jin Rong’s board, with a layer of the scalp being blown off. Precious Jade was rubbing Qin's head with the corner of his robe. Finding that Li Gui had stopped the chaos, he ordered, &amp;quot;Li Gui, pack the books and take the horse here, and I am going to tell the Master! We are bullied but dare not say anything. Out of the etiquette, we tell uncle Omen Jia. But he thinks it is our fault, not only letting others scold us but also instigating others to hit us. Seeing people bully us, Tealeaf Smoke stood out for us. However, they attack Tealeaf Smoke, and even Qin Zhong's head was broken. Can I still study here?&amp;quot; Li Gui persuaded:&amp;quot; Don't be impatient. The grandfather has something to go home. If we bother him about this matter at this time, it seems that we are impolite. In my opinion, we solve the problem here. There is no need to trouble him. It is Omen Jia`s fault. The master is not here, and you are the leader of this school, others follow what you say. If someone makes mistakes, you should hit and punish them, how to leave the trouble go onto such a stage?&amp;quot;--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:39, 13 April 2021 (UTC)&lt;br /&gt;
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=Wáng Chǔyí 王楚仪=&lt;br /&gt;
贾瑞道：“我吆喝着都不听。”&lt;br /&gt;
李贵道：“不怕你老人家恼我，素日你老人家到底有些不是，所以这些兄弟不听。&lt;br /&gt;
就闹到太爷跟前去，连你老人家也脱不了的。还不快作主意撕罗开了罢！”宝&lt;br /&gt;
玉道：“撕岁什么？我必要回去的。”秦钟哭道：“有金荣在这里，我是要回去的了。”宝玉道：“这是为什么？难道别人家来得，咱们倒来不得的？我必回明白众人，撵了金荣去。”又问李贵：“这金荣是那一房的亲友？”李贵想一想，道：“也不用问了。若说起那一房亲戚，更伤了兄弟们和气。”&lt;br /&gt;
    &lt;br /&gt;
茗烟在窗外道：“他是东衙里璜大奶奶的侄儿，那是什么硬挣仗腰子的，也&lt;br /&gt;
来吓我们。璜大奶奶是他姑妈。你那姑妈只会打旋磨儿，给我们琏二奶奶跪着&lt;br /&gt;
借当头，我眼里就看不起他那样主子奶奶！”李贵忙喝道：“偏这小狗养的知道，&lt;br /&gt;
有这些蛆嚼！”宝玉冷笑道：“我只当是谁的亲戚，原来是璜嫂子侄儿，我就去问问他。”说着便要走，叫茗烟进来包书。茗烟进来包书，又得意洋洋的道：“爷也不用自己去见他，等我去他家，就说老太太有话问他呢，雇上一辆车子拉进去，&lt;br /&gt;
当着老太太问他，岂不省事？”李贵忙喝道：“你要死！仔细回去我好不好先捶&lt;br /&gt;
了你，然后回老爷、太太，就说宝哥全是你调唆的。我这里好容易劝哄的好了一&lt;br /&gt;
半，你又来生了新法儿。你闹了学堂，不说变个法儿压息了才是，倒还往火里&lt;br /&gt;
奔！”茗烟方不敢做声。&lt;br /&gt;
    &lt;br /&gt;
此时贾瑞也生恐闹不清，自己也不干净，只得委曲着来央告秦钟，又央告&lt;br /&gt;
宝玉。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I did tell them to stop,&amp;quot; said Omen Jia. &amp;quot;But no one paid any attention.”  “I’m not afraid to speak frankly, sir,” rejoined Li Gui. &amp;quot;Normally your own conduct is indecent and casual so that these boys don’t obey you. If this accident comes to the master’s ears, you cannot get away with it. Hurry up and think of a way to deal with it.” I won’t have it solved easily,” declared Precious Jade. “I’m going to report it.” I would not come here anymore,” sobbed Qin Zhong, &amp;quot;if Honor Gold should be allowed to stay.” “Why!” cried Precious Jade. “Why should we have to keep away because they come? I’m going to tell everyone and have him expelled.” He asked Li Gui which branch of the family Honor Gold was related to. Li Gui thought for a moment, then said, “Better not ask. If I tell you, it will only cause bad feelings among relatives.” He’s the nephew of Mrs. Jia Huang of the East Lane,” called Tealeaf outside the window. “I don’t know how he had the nerve to beard us. Mrs. Jia Huang is his aunt on the father’s side. She’s a sponger who sucks up to people and goes down on her knees to Madam Lian for things to pawn. How can we respect a ‘Mistress’ like that?” Shut up, you dirty bugger. Don’t talk such rot,” roared Li Gui.“So that’s who he is!” said Precious Jade scornfully. “Cousin Jia Huang’s nephew. I shall go and tell her about this.” He ordered Tealeaf smoke to come in and wrap up his books. Tealeaf smoke wrapped the books, saying exultantly, “Why trouble yourself, sir? Let me go and tell her Lady Dowager has something to ask her. I’ll hire a carriage to bring her in, and you can question her in the Lady Dowager’s presence. Wouldn’t that be easier?” “How dare you?” shouted Li Gui. “I’ll give you such a thrashing when we get back. Then I’ll tell our master and mistress that you are the one who put Precious Jade up to this. I’ve had trouble enough getting him halfway calmed down, and here you come up with new bad ideas. You started this rumpus, but instead of trying to smooth it over you’re adding fuel to the fire.” Tea leaf smoke dared say no more then. And Omen Jia, afraid of being incriminated if this went any further, had to pocket his grievance and asked Qin Zhong and Precious Jade to let it past.&lt;br /&gt;
&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 08:56, 13 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I did tell them to stop,&amp;quot; said Omen Merchant. &amp;quot;But no one paid any attention.”  “I’m not afraid to speak frankly, sir,” rejoined Expensive Gift. &amp;quot;Normally your own conduct is indecent and casual so that these boys don’t obey you. If this accident comes to the master’s ears, you cannot get away with it. Hurry up and think of a way to deal with it.” I won’t have it solved easily,” declared Precious Jade. “I’m going to report it.” I would not come here anymore,” sobbed Clock Qin, &amp;quot;if Honor Gold should be allowed to stay.” “Why!” cried Precious Jade. “Why should we have to keep away because they come? I’m going to tell everyone and have him expelled.” He asked Expensive Gift which branch of the family Honor Gold was related to. Expensive Gift thought for a moment, then said, “Better not ask. If I tell you, it will only cause bad feelings among relatives.” He’s the nephew of Omen Merchant Huang of the East Lane,” called Tea-leaf outside the window. “I don’t know how he had the nerve to beard us. Mrs. Jia Huang is his aunt on the father’s side. She’s a sponger who sucks up to people and goes down on her knees to Madam Lian for things to pawn. How can we respect a ‘Mistress’ like that?” Shut up, you dirty bugger. Don’t talk such rot,” roared Expensive Gift.“So that’s who he is!” said Precious Jade scornfully. “Cousin Jia Huang’s nephew. I shall go and tell her about this.” He ordered Tea-leaf smoke to come in and wrap up his books. Tea-leaf smoke wrapped the books, saying exultantly, “Why trouble yourself, sir? Let me go and tell her Lady Dowager has something to ask her. I’ll hire a carriage to bring her in, and you can question her in the Lady Dowager’s presence. Wouldn’t that be easier?” “How dare you?” shouted Expensive Gift. “I’ll give you such a thrashing when we get back. Then I’ll tell our master and mistress that you are the one who put Precious Jade up to this. I’ve had trouble enough getting him halfway calmed down, and here you come up with new bad ideas. You started this rumpus, but instead of trying to smooth it over you’re adding fuel to the fire.” Tea-leaf smoke dared say no more then. And Omen Merchant, afraid of being incriminated if this went any further, had to pocket his grievance and asked Clock Qin and Precious Jade to let it past.--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 16:09, 1 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I did tell them to stop,&amp;quot; said Omen Merchant. &amp;quot;But no one paid any attention.”  “I’m not afraid to speak frankly, sir,” rejoined Expensive Gift. &amp;quot;Normally your own conduct is indecent and casual so that these boys don’t obey you. If this accident comes to the master’s ears, you cannot get away with it. Hurry up and think of a way to deal with it.” I won’t have it solved easily,” declared Precious Jade. “I’m going to report it.” I would not come here anymore,” sobbed Clock Qin, &amp;quot;if Honor Gold should be allowed to stay.” “Why!” cried Precious Jade. “Why should we have to keep away because they come? I’m going to tell everyone and have him expelled.” He asked Expensive Gift which branch of the family Honor Gold was related to. Expensive Gift thought for a moment, then said, “Better not ask. If I tell you, it will only cause bad feelings among relatives.” He’s the nephew of Mrs. Merchant Huang of the East Lane,” called Tealeaf outside the window. “I don’t know how he had the nerve to beard us. Mrs. Merchant Huang is his aunt on the father’s side. She’s a sponger who sucks up to people and goes down on her knees to Madam Lian for things to pawn. How can we respect a ‘Mistress’ like that?” Shut up, you dirty bugger. Don’t talk such rot,” roared Expensive Gift.“So that’s who he is!” said Precious Jade scornfully. “Cousin Merchant Huang’s nephew. I shall go and tell her about this.” He ordered Tealeaf smoke to come in and wrap up his books. Tealeaf smoke wrapped the books, saying exultantly, “Why trouble yourself, sir? Let me go and tell her Lady Dowager has something to ask her. I’ll hire a carriage to bring her in, and you can question her in the Lady Dowager’s presence. Wouldn’t that be easier?” “How dare you?” shouted Expensive Gift. “I’ll give you such a thrashing when we get back. Then I’ll tell our master and mistress that you are the one who put Precious Jade up to this. I’ve had trouble enough getting him halfway calmed down, and here you come up with new bad ideas. You started this rumpus, but instead of trying to smooth it over you’re adding fuel to the fire.” Tealeaf smoke dared say no more then. And Omen Merchant, afraid of being incriminated if this went any further, had to pocket his grievance and asked Clock Qin and Precious Jade to let it past.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 17:04, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
先是他二人不肯，后来宝玉说：“不回去也罢了，只叫金荣赔不是便罢。”&lt;br /&gt;
金荣先是不肯，后来经不得贾瑞也来逼他权赔个不是，李贵等只得好动劝金荣，&lt;br /&gt;
说：“原是你起的端，你不这样，怎得了局？”金荣强不得，只得与秦钟作了揖，宝玉还不依，定要磕头。贾瑞只要暂息此事，又悄悄的劝金荣说：“俗语云：‘忍得一时忿，终身无恼闷。’”未知金荣从也不从，下回分解。&lt;br /&gt;
    &lt;br /&gt;
◎第十回 金寡妇贪利权受辱  张太医论病细穷源&lt;br /&gt;
    &lt;br /&gt;
话说金荣因人多势众，又兼贾瑞勒令赔了不是，给秦钟磕了头，宝玉方才不&lt;br /&gt;
吵闹了。大家散了学，金荣自己回到家中，越想越气，说：“秦钟不过是贾蓉的小舅子，又不是贾家的子孙，附学读书，也不过和我一样，他因仗着宝玉同他相好，就目中无人。既是这样，就该行些正经事，也没的说；他素日又和宝玉鬼鬼祟祟的，只当人都是瞎子，看不见。今日他又去勾搭人，偏偏撞在我眼里，就是闹出事来，我还怕什么不成？”&lt;br /&gt;
    &lt;br /&gt;
他母亲胡氏听见他咕咕唧唧的，说：“你又要管什么闲事？好容易我望你&lt;br /&gt;
姑妈说了，你姑妈又千方百计的向他们西府里琏二奶奶跟前说了，你才得了这&lt;br /&gt;
个念书的地方。若不是仗着人家，咱们家里还有力量请得起先生么？况且人家&lt;br /&gt;
学里，茶饭都是现成的，你这二年在那里念书，家里也省好大的嚼用呢。省出来&lt;br /&gt;
的，你又爱穿件鲜明衣服。再者，因你在那里念书，你就认得什么薛大爷了。那&lt;br /&gt;
薛大爷一年也帮了咱们七八十两银子。&lt;br /&gt;
&lt;br /&gt;
Firstly Honor Gold and Aged-boy did not agree until Precious Jade said:” It is OK not to leave as long as Honor Gold would make an apology.” Honor Gold refused to apologize at first. After a while Omen Merchant also forced him to just apologize but Honor Gold did not follow his instruction. So Dear Present had to talked him into saying sorry to Aged-boy. Dear Present said:” It was you who stirred up the trouble; if you did not apologize to Aged-boy, when would this matter end?” Honor Gold had no choice but to bow and scrape to Aged-boy. But Precious Jade did not content with this and insisted that Honor Gold must kotow. Omen Merchant only wanted to settle down this matter temporarily, quietly persuading Honor Gold:” As the saying goes, Swallowing the short-lived tears, gaining the permanent happiness.” Whether Honor Gold followed or not would be stated in the next chapter.&lt;br /&gt;
&lt;br /&gt;
Chapter 10 Widow Gold Being Humiliated For Greediness of Power  &lt;br /&gt;
Imperial Physician Zhang Digging Sources to Details of Diseases&lt;br /&gt;
&lt;br /&gt;
Last chapter referred that because of safety in numbers, Honor Gold made an apology which Omen Merchant talked into, and he then kotowed to Aged-boy until Precious Jade did not shouted. The school was over. After coming home, Honor Gold was much angrier when recalling today’s experience, saying:” Aged-boy was just the younger brother of Lotus Merchant and not the descendant of the Merchants. He was just a transient student the same as me, but he was on the high ropes because of Precious Jade’s love. In this case, he should have done something good about which I have nothing to criticize. He usually hung around with Precious Jade, regarding all people as the blind. Today I happened to see that Aged-boy hooked up others again. I would fear nothing if I picked up a fight on purpose.&lt;br /&gt;
His mother, Mrs. Hu, listened him muttering to himself , saying:” Which thing do you pose your nose into? It took such a big effort to beg your aunt and your aunt spared no efforts to beg the Lian second daughter-in-law in Western Mansion that you could study there. If we do not rely on them, can we afford to teachers through our own strength? Besides, they offer free books and meals. If you study there for two years, we can save more money for them. And the left money can be used to buy your favorite colorful clothes. What’s more, because of you studying there, you would get acquainted with Uncle Xue, who sponsors us 350-400g silver a year.”--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 15:12, 13 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Firstly Honor Gold and Aged-boy did not agree until Precious Jade said:” It is OK not to leave as long as Honor Gold makes an apology.” Honor Gold refused to apologize at first. Then Omen Merchant also forced him to just apologize but Honor Gold did not follow his instruction. So Dear Present had to talked him into saying sorry to Aged-boy. Dear Present said:” It was you who stirred up the trouble; if you did not apologize to Aged-boy, when would this matter end?” Honor Gold had no choice but to bow and scrape to Aged-boy. But Precious Jade did not content with this and insisted that Honor Gold must kotow. Omen Merchant only wanted to settle down this matter temporarily, quietly persuading Honor Gold:” As the saying goes, Swallowing the short-lived tears, gaining the permanent happiness.” Whether Honor Gold followed or not would be stated in the next chapter.&lt;br /&gt;
&lt;br /&gt;
Chapter 10 Widow Gold Being Humiliated For Greediness of Power Imperial Physician Zhang Digging Sources to Details of Diseases&lt;br /&gt;
&lt;br /&gt;
Last chapter referred that because of safety in numbers, Honor Gold made an apology which Omen Merchant talked into, and he then kotowed to Aged-boy until Precious Jade did not shouted. The school was over. After coming home, Honor Gold was much angrier when recalling today’s experience, saying:” Aged-boy was just the younger brother of Lotus Merchant and not the descendant of the Merchants. He was just a transient student the same as me, but he was on the high ropes because of Precious Jade’s love. In this case, he should have done something good about which I have nothing to criticize. He usually hung around with Precious Jade, regarding all people as the blind. Today I happened to see that Aged-boy hooked up others again. I would fear nothing if I picked up a fight on purpose.&lt;br /&gt;
His mother, Mrs. Hu, listened him muttering to himself , saying:” Which thing do you pose your nose into? It took such a big effort to beg your aunt and your aunt spared no efforts to beg the Lian’s  second daughter-in-law in Western Mansion that you could study there. If we do not rely on them, can we afford to teachers through our own strength? Besides, they offer free books and meals. If you study there for two years, we can save more money for our family. And the left money can be used to buy your favorite colorful clothes. What’s more, because of you studying there, you would get acquainted with Uncle Xue, who sponsors us 350-400g silver a year.”--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 04:37, 14 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
你如今要闹出了这个学房，若再要找这样一个地方，我告诉你说罢，比登天的还难呢！你给我老老实实的玩回子睡你的觉去，好多着的呢。”于是金荣忍气吞声，不多一时，也自睡觉了。次日仍旧上学去了，不在话下。&lt;br /&gt;
    &lt;br /&gt;
且说他姑妈原来给的是贾家“玉”字辈的嫡派，名唤贾璜，但其族人那里皆&lt;br /&gt;
能像宁荣二府的富势？原不用细说。这贾璜夫妻，守着些小小的产业，又时常&lt;br /&gt;
到宁荣二府里去请安，又会奉承凤姐儿并尤氏，所以凤姐儿尤氏也时常资助资&lt;br /&gt;
助他，方能如此度日。今日正遇天气晴明，又值家中无事，遂带了一个婆子，坐&lt;br /&gt;
上车，来家里走走，瞧瞧寡嫂并侄儿。&lt;br /&gt;
    &lt;br /&gt;
闲说之间，金荣的母亲偏提起昨日贾家学房里的事，从头至尾，一五一十&lt;br /&gt;
都向他小姑子说了。这璜大奶奶不听则已，听了，怒从心上起，说道：“这秦钟小子是贾门的亲戚，难道荣儿不是贾门的亲戚？人都别要势利了，况且都做的是&lt;br /&gt;
什么有脸的事！就是宝玉也不犯向着他到这个田地。等我去到东府瞧瞧我们&lt;br /&gt;
珍大奶奶，再和秦钟的姐姐说说，叫他评评这个理！”这金荣的母亲听了，急的了不得，忙说：“这都是我的快嘴，告诉了姑奶奶，求姑奶奶快别去说罢。别管他们谁是谁非，倘或闹出来，怎么在这里站得住？若站不住，家里不但不能请先生，反在他身上添出许多嚼用来呢。”璜大奶奶说道：“那里管得许多？你等我说了，看是怎么样！也不容他嫂子劝，一面叫老婆子瞧了车，坐了望宁府里来。&lt;br /&gt;
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If you’re expelled because of this row, don’t expect me to find another school like this. I can tell you, that would be harder than climbing up to heaven. Just amuse yourself quietly now before going to bed. That would be much better.” Honor Gold had to swallow his anger and hold his tongue, and very soon he turned in. The next day be went back to school as if nothing had happened.&lt;br /&gt;
&lt;br /&gt;
Now Honor Gold’s paternal aunt had married Jia Huang of that generation of the family which used the ‘jade” (yu) radical in personal names. Needless to say, not all members of the clan were as wealthy as those in the Ning and Rong Mansions.&lt;br /&gt;
Jia Huang and his wife had very slender means and were only able to live as they did by keeping on good terms with both households and by making up to Sister Phoenix and old Mrs You, who often helped them out.&lt;br /&gt;
Since today was fine and she had nothing to do, Jia Huang’s wife, nee Jin, accompanied by a woman- servant, came over by carriage to see her widowed sister-in-law and nephew.&lt;br /&gt;
&lt;br /&gt;
In the course of conversation Honor Gold’s mother described the quarrel in the school the previous day, giving a detailed account of the whole affair. Aunt Huang immediately flew into a passion. “Our boy Honor is just as much a relative of the Jia family as that young fool Aged-boy,” she cried. “How can some people suck up like that to the rich? Especially when they behave so disgracefully.As for Precious Jade, he’s no call to make such a favourite of him. I’m going to the East Mansion to see old Mrs You, then I’ll tell Aged-boy’s sister about this and see what she has to say.”“I should never have told you, sister.” Honor Gold’s mother was frantic. “For goodness’ sake don’t say anything to them. Never mind who’s right and who’s wrong. If trouble came of it my boy would lose his place. And apart from the fact that we couldn’t afford a tutor we’d have to spend a lot more on his food and clothes. “Never mind that!” retorted Aunt Huang. “Let me tell them the facts and we’ll see what they have to say.” Ignoring the widow’s protests, she called for her carriage and drove to the Ning Mansion.--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 05:29, 28 April 2021 (UTC)&lt;br /&gt;
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&lt;br /&gt;
If you’re expelled because of this row, don’t expect me to find another school like this. I can tell you, that would be harder than climbing up to heaven. Just amuse yourself quietly now before going to bed. That would be much better.” Honor Gold had to swallow his anger and hold his tongue, and very soon he turned in. The next day be went back to school as if nothing had happened.&lt;br /&gt;
&lt;br /&gt;
Now Honor Gold’s paternal aunt had married Jia Huang of that generation of the family which used the ‘jade” (yu) radical in personal names. Needless to say, not all members of the clan were as wealthy as those in the Ning and Rong Mansions.&lt;br /&gt;
Jia Huang and his wife had very slender means and were only able to live as they did by keeping on good terms with both households and by making up to Sister Phoenix and Madam You, who often helped them out.&lt;br /&gt;
Since today was fine and she had nothing to do, Jia Huang’s wife, nee Jin, accompanied by a woman- servant, came over by carriage to see her widowed sister-in-law and nephew.&lt;br /&gt;
&lt;br /&gt;
In the course of conversation Honor Gold’s mother described the quarrel in the school the previous day, giving a detailed account of the whole affair. Aunt Huang immediately flew into a passion. “Our boy Honor is just as much a relative of the Jia family as that young fool Aged-boy,” she cried. “How can some people suck up like that to the rich? Especially when they behave so disgracefully.As for Precious Jade, he’s no call to make such a favourite of him. I’m going to the East Mansion to see Madam You, then I’ll tell Aged-boy’s sister about this and see what she has to say.”“I should never have told you, sister.” Honor Gold’s mother was frantic. “For goodness’ sake don’t say anything to them. Never mind who’s right and who’s wrong. If trouble came of it my boy would lose his place. And apart from the fact that we couldn’t afford a tutor we’d have to spend a lot more on his food and clothes. “Never mind that!” retorted Aunt Huang. “Let me tell them the facts and we’ll see what they have to say.” Ignoring the widow’s protests, she called for her carriage and drove to the Ning Mansion.--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:02, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
到了宁府，进了东角门，下了车，进去见了贾珍的妻子尤氏，未敢气高，殷殷&lt;br /&gt;
勤勤叙过了寒温，说了些闲话，方问道：“今日怎么没见蓉大奶奶？”尤氏说：“他这些日子不知怎么，经期有两个多月没有来。叫大夫瞧了，又说并不是喜。那两日，到下半日就懒怠动了，话也懒怠说，眼神也发眩。我叫他：‘你且不必拘礼，早晚不必照例上来，你竟养养罢。就是有亲戚来，还有我呢。就有长辈怪&lt;br /&gt;
你，等我替休告诉。’连蓉哥我都嘱咐了，我说：‘你不许累掯他，不许招他生气，叫他好生静养静养就好了。他要想什么吃，只管到我这里来取。倘或他有个好歹，你再要娶这一个媳妇儿，这么个模样儿，这么个性情儿，只怕打着灯笼儿也没处去找呢！’他这为人行事，那个亲戚那个长辈不喜欢他？所以我这两日好&lt;br /&gt;
不心烦。偏生今儿早起他兄弟来瞧他，谁知他那小孩子家不知好歹，看见他姐&lt;br /&gt;
姐身上不好，这些事也不当告诉他，就受了万分委曲也不该向着他说。谁知昨&lt;br /&gt;
日学房里打架，不知是那里附学的学生，倒欺负了他，里头还有些不干不净的&lt;br /&gt;
话，都告诉了他姐姐。婶子，你是知道的：那媳妇虽则见了人有说有笑的，他可&lt;br /&gt;
心细，心又多，不拘听见什么话儿，都要忖量个三日五夜才罢。这病就是从这&lt;br /&gt;
‘用心太过’上得来的。今儿听见有人欺负了他的兄弟，又是恼，又是气：恼的&lt;br /&gt;
是那狐朋狗友，搬是弄非，调三惑四；气的是为他兄弟不学好，不上心读书，以致如此学里吵闹。&lt;br /&gt;
she drove to the Ning Mansion, alighting at the small gate on the east side and going in on foot to see Madam You. Not daring to vent her anger, she made polite conversation for a while, then asked, “Why don’t I see Madam Rong today?” “I don’t know what the matter is,” said Madam You. “But she’s missed her periods for two months and more, yet the doctors say she’s not expecting. She’s too tired to move or talk by the afternoon nowadays, and she has dizzy spells. I told her, ‘Don’t trouble to pay your respects here mornings and evenings, just have a good rest. If relatives call, I’ll receive them. And if the old folk wonder at your absence, I’ll make apologies for you.’ I told Rong not to let anyone tire or annoy her, so that she can rest quietly until she’s better. ‘If she fancies anything to eat, come to me for it,’ I said. ‘If we don’t have it you can ask Xifeng. If anything were to happen to her, you’d never find another wife with her good looks and sweet temper, not if you were to search around with a lantern.’  She’s quite won the hearts of the old folk and all our relations. So I’ve been most dreadfully worried the last few days. But then her brother had to come and see her this morning. He’s too young to know any better, but when he saw she was ill he shouldn’t have troubled her with his affairs, not to say a trifle like this. Even if he was treated unfairly, he shouldn’t have told her. They had a fight, you know, in school yesterday. Some other boy bullied him and there was dirty talk---he repeated it all to her. You know how she is. For all she’s so pleasant and so capable, she’s sensitive and takes everything to heart. She’ll brood over the least little thing for days on end. It’s this habit of worrying that’s made her ill. When she heard today that someone had picked on her brother, it upset her and made her angry. Angry with those dirty dogs who cause trouble and gossip; upset because Qin Zhong doesn’t study hard or give his mind to his books, and that’s how this trouble started.--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:00, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
she drove to the Ning Mansion, alighting at the small gate on the east side and going in on foot to see Madam You. Not daring to vent her anger, she made polite conversation for a while, then asked, “Why don’t I see Madam Rong today?” “I don’t know what the matter is,” said Madam You. “But she’s missed her periods for more than two months, yet the doctors say she’s not pregnant. She’s too tired to move or talk by the afternoon nowadays, and she has dizzy spells. I told her, ‘Don’t trouble to pay your respects here mornings and evenings, just have a good rest. If relatives call, I’ll receive them. And if the old folk wonder at your absence, I’ll make apologies for you.’ I told Rong not to let anyone tire or annoy her, so that she can rest quietly until she’s better. ‘If she  wants anything to eat, come to me for it,’ I said. ‘If we don’t have it you can ask Sister Phoenix. If anything were to happen to her, you’d never find another wife with her good looks and sweet temper, not if you were to search around with a lantern.’  She’s quite won the hearts of the old folk and all our relations. So I’ve been most dreadfully worried the last few days. But then her brother had to come and see her this morning. He’s too young to know any better, but when he saw she was ill he shouldn’t have troubled her with his affairs, not to say a trifle like this. Even if he was treated unfairly, he shouldn’t have told her. They had a fight, you know, in school yesterday. Some other boy bullied him and there was dirty talk---he repeated it all to her. You know how she is. For all she’s so pleasant and so capable, she’s sensitive and takes everything to heart. She’ll brood over the least little thing for days on end. It’s this habit of worrying that’s made her ill. When she heard today that someone had picked on her brother, it upset her and made her angry. Angry with those dirty dogs who cause trouble and gossip; upset because Qin Zhong doesn’t study hard or give his mind to his books, and that’s how this trouble started.—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:23, 13 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
他为了这事，索性连早饭还没吃。我才到他那边安慰了他一&lt;br /&gt;
会，又劝解了他的兄弟几句，我叫他兄弟到那边府里找宝玉儿去了；我又瞧着他&lt;br /&gt;
吃了半盏燕窝汤，我才过来的。婶子，你说我心焦不心焦？况目今又没个好大&lt;br /&gt;
夫，我想到他这病上，我心里如同针扎的一般。你们知道有什么好大夫没有？”&lt;br /&gt;
    &lt;br /&gt;
金氏听了这一番话，把方才在他嫂子家的那一团要向秦氏理论的盛气，早&lt;br /&gt;
吓的丢在爪洼国去了。听见尤氏问他好大夫的话，连忙答道：“我们也没听见&lt;br /&gt;
人说什么好大夫。如今听起大奶奶这个病来，定不得还是喜呢。嫂子倒别教人&lt;br /&gt;
混治，倘若治错了，可了不得！”尤氏道：“正是呢。”&lt;br /&gt;
    &lt;br /&gt;
说话之间，贾珍从外进来，见了金氏，便问尤氏道：“这不是璜大奶奶么？”&lt;br /&gt;
金氏向前给贾珍请了安，贾珍向尤氏说：“让这大妹妹吃了饭去。”贾珍说着话&lt;br /&gt;
便向那屋里去了。金氏此来原要向秦氏说秦钟欺负他侄儿的事，听见秦氏有&lt;br /&gt;
病，连提也不敢提了。况且贾珍尤氏又待的甚好，因转怒为喜的，又说了一会子&lt;br /&gt;
闲话，方家去了。&lt;br /&gt;
    &lt;br /&gt;
金氏去后，贾珍方过来坐下，问尤氏道：“今日他来有什么说的？”尤氏答&lt;br /&gt;
道：“倒没说什么，一进来脸上倒像有些着恼的气色似的，及至说了半天话，又提起媳妇的病，他倒渐渐的气色平静了。你又叫留他吃饭，他听见媳妇这样的病，&lt;br /&gt;
也不好意思只管坐着，又说几句闲话就去了，倒没有求什么事。如今且说媳妇&lt;br /&gt;
这病，你那里寻一个好大夫给他瞧瞧要紧，可别耽误了。&lt;br /&gt;
&lt;br /&gt;
Because of this, she didn’t have any breakfast. When word of this reached me I went over to soothe her. I gave her brother a talking-to, then packed him off to Precious Jade in the other mansion. I didn’t come back till I’d seen her take half a bowl of bird’s-nest soup. You can’t imagine how worried I am, sister. We haven’t got any good doctors nowadays, either. This illness is keeping me on tenterhooks. Do you know of any good doctor?”&lt;br /&gt;
Aunt Huang’s furious determination while with her sister-in-law to have it out with Keqing had, during this recital, been scared away into the Sea of Java. “We’ve been hoping to hear of some good doctors, but so far we don’t know of any,” she replied. &amp;quot;But judging by what you tell me, this may still mean she’s pregnant. Don’t let anyone give her the wrong medicine, though. That will be dangerous.” “I think so,” agreed Madam You. &lt;br /&gt;
At this point Cousin Zhen came in. Seeing Jia Huang’s wife he asked, “Is this Mrs. Huang?” She stepped forward to greet him, and before returning to his room he urged his wife to keep her to a meal. Aunt Huang had come there to complain about Qin Zhong’s treatment of her nephew, but after hearing of Ke Qing’s illness she had not the courage to mention this. Moreover Cousin Zhen’s and Madam You’s kind reception had transformed her indignation into pleasure. She chatted a little longer, then took her leave.&lt;br /&gt;
Once she had gone, Cousin Zhen came in and sat down.“What business brought her here today?” he asked. “She didn’t seem to have any,” replied his wife. “She looked angry when she arrived but she calmed down little by little as I told her about our daughter-in-law’s illness. Because of that she couldn’t stop to a meal, as you suggested. She left quite soon without making any requests. “But to get back to our daughter-in-law, you really must find a good doctor for her without any more delay. &lt;br /&gt;
&lt;br /&gt;
Because of this, she didn’t have any breakfast. When word of this reached me I went over to soothe her. I gave her brother a talking-to, then packed him off to Precious Jade in the other mansion. I didn’t come back till I’d seen her take half a bowl of bird’s-nest soup. You can’t imagine how worried I am, sister. We haven’t got any good doctors nowadays, either. This illness is keeping me on tenterhooks. Do you know of any good doctor?” Aunt Huang’s furious determination while with her sister-in-law to have it out with Keqing had, during this recital, been scared away into the Sea of Java. “We’ve been hoping to hear of some good doctors, but so far we don’t know of any,” she replied. &amp;quot;But judging by what you tell me, this may still mean she’s pregnant. Don’t let anyone give her the wrong medicine, though. That will be dangerous.” “I think so,” agreed Madam You. At this point Cousin Zhen came in. Seeing Jia Huang’s wife he asked, “Is this Mrs. Huang?” She stepped forward to greet him, and before returning to his room he urged his wife to keep her to a meal. Aunt Huang had come there to complain about Qin Zhong’s treatment of her nephew, but after hearing of Ke Qing’s illness she had not the courage to mention this. Moreover Cousin Zhen’s and Madam You’s kind reception had transformed her indignation into pleasure. She chatted a little longer, then took her leave. Once she had gone, Cousin Zhen came in and sat down.“What business brought her here today?” he asked. “She didn’t seem to have any,” replied his wife. “She looked angry when she arrived but she calmed down little by little as I told her about our daughter-in-law’s illness. Because of that she couldn’t stop to a meal, as you suggested. She left quite soon without making any requests. “But to get back to our daughter-in-law, you really must find a good doctor for her without any more delay. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Because of this, she didn’t have any breakfast. When word of this reached me I went over to soothe her. I gave her brother a talking-to, then packed him off to Precious Jade in the other mansion. I didn’t come back till I’d seen her take half a bowl of bird’s-nest soup. You can’t imagine how worried I am, sister. We haven’t got any good doctors nowadays, either. This illness is keeping me on tenterhooks. Do you know of any good doctor?” Aunt Huang’s furious determination while with her sister-in-law to have it out with Keqing had, during this recital, been scared away into the Claw Depression. “We’ve been hoping to hear of some good doctors, but so far we don’t know of any,” she replied. &amp;quot;But judging by what you tell me, this may still mean she’s pregnant. Don’t let anyone give her the wrong medicine, though. That will be dangerous.” “I think so,” agreed Madam You. At this point Cousin Zhen came in. Seeing Jia Huang’s wife he asked, “Is this Mrs. Huang?” She stepped forward to greet him, and before returning to his room he urged his wife to keep her to a meal. Aunt Huang had come there to complain about Qin Zhong’s treatment of her nephew, but after hearing of Ke Qing’s illness she had not the courage to mention this. Moreover Cousin Zhen’s and Madam You’s kind reception had transformed her indignation into pleasure. She chatted a little longer, then took her leave. Once she had gone, Cousin Zhen came in and sat down.“What business brought her here today?” he asked. “She didn’t seem to have any,” replied his wife. “She looked angry when she arrived but she calmed down little by little as I told her about our daughter-in-law’s illness. Because of that she couldn’t stop to a meal, as you suggested. She left quite soon without making any requests. “But to get back to our daughter-in-law, you really must find a good doctor for her without any more delay. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.When word of this reached me I went over to soothe her.→ After I heard the news, I went over to comfort her.&lt;br /&gt;
&lt;br /&gt;
2.“We’ve been hoping to hear of some good doctors, but so far we don’t know of any,” she replied.→“We’ve been hoping to hear from some good doctors, but so far we don’t know of any,” she replied.&lt;br /&gt;
&lt;br /&gt;
3.She stepped forward to greet him, and before returning to his room he urged his wife to keep her to a meal.→She stepped forward to greet him, and before returning to his room he urged his wife to keep her for a meal.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:37, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
现今咱们家走的这群大夫，那里要得，一个个都是听着人的口气儿，人怎么说，他也添几句文话儿说一遍；可倒殷勤的很，三四个人，一日轮流着，倒有四五遍来看脉。大家商量着立个方儿，吃了也不见效。倒弄得一日三五次换衣服，坐起来见大夫，其实于病人无益。”贾珍说：“可是这孩子也糊涂，何必又脱脱换换的，倘或又着了凉，更添一层病，还了得？任凭什么好衣裳，又值什么呢，孩子的身体要紧，就是一天穿一套新的，也不值什么。我正要告诉你：方才冯紫英来看我，他见我有些抑郁之色，问我是怎么了，我告诉他媳妇身子不大爽快，因为不得个好太医，断不透是喜是病，又不知有妨碍无妨碍，所以我心里实在着急。冯紫英因说他有一个幼时从学的先生，姓张名友士，学问最渊博，更兼医理极精，且能断人的生死。今年是上京给他儿子捐官，现在他家住着呢。这样看来，或者媳妇的病该在他手里除灾，也未可定。我已叫人拿我的名帖去请了。今日天晚，或未必来；明日想一定来的。且冯紫英又回家亲替我求他，务必请他来瞧的。等待张先生来瞧了再说罢。”&lt;br /&gt;
    &lt;br /&gt;
尤氏听说，心中甚喜，因说：“后日又是太爷的寿日，到底怎么办法？”贾珍&lt;br /&gt;
说道：“我方才到了太爷那里去请安，兼请太爷来家受一受一家子的礼。太爷&lt;br /&gt;
因说道：‘我是清净惯了的，我不愿意往你们那是非场中去。你们必定说是我&lt;br /&gt;
的生日，要叫我去受些众人的头，&lt;br /&gt;
&lt;br /&gt;
Now these doctors in our family do not have true skill and genuine knowledge. Each one of them listens to what the patient has to say of the ailment， and then， adding a string of flowery sentences， out he comes with a long rigmarole； but they are exceedingly diligent in paying us visits； and in one day， three or four of them are here at least four and five times in rotation！ They come and feel her pulse， they hold consultation together， and write their prescriptions， but， though she has taken their medicines， she has seen no improvement； on the contrary， she's compelled to change her clothes three and five times each day， and to sit up to see the doctor； a thing which， in fact， does the patient no good.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;This child too is somewhat simple，&amp;quot; observed Treasure Merchant； &amp;quot;for what need has she to be taking off her clothes， and changing them for others？ And were she again to catch a chill， she would add something more to her illness； and won't it be dreadful！ The clothes may be no matter how fine， but what is their worth， after all？ The health of our child is what is important to look to！ and were she even to wear out a suit of new clothes a-day， what would that too amount to？ I was about to tell you that a short while back， Feng Tzu-ying came to see me， and， perceiving that I had somewhat of a worried look， he asked me what was up； and I told him that our son's wife was not well at all， that as we couldn't get any good doctor， we couldn't determine with any certainty， whether she was in an interesting condition， or whether she was suffering from some disease； that as we could neither tell whether there was any danger or not， my heart was， for this reason， really very much distressed. Feng Tzu-ying then explained that he knew a young doctor who had made a study of his profession， Chang by surname， and Yu-shih by name， whose learning was profound to a deGREe； who was besides most proficient in the principles of medicine， and had the knack of discriminating whether a patient would live or die； that this year he had come to the capital to purchase an official rank for his son， and that he was now living with him in his house. In view of these circumstances， not knowing but that if， perchance， the case of our daughter-in-law were placed in his hands， he couldn't avert the danger， I readily despatched a servant， with a card of mine， to invite him to come； but the hour to-day being rather late， he probably won't be round， but I believe he's sure to be here to-morrow. Besides， Feng-Tzu-ying was also on his return home， to personally entreat him on my behalf， so that he's bound， when he has asked him， to come and see her. Let's therefore wait till Dr. Chang has been here and seen her， when we can talk matters over！&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Madam Outstanding was very much cheered when she heard what was said. &amp;quot;the day after to-morrow，&amp;quot; she felt obliged to add， &amp;quot;is again our senior's， Mr. Chia Ching's birthday， and how are we to celebrate it after all？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I've just been over to our Senior's and paid my respects，&amp;quot; repliedTreasure Merchant， &amp;quot;and further invited the old gentleman to come home， and receive the congratulations of the whole family.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;'I'm accustomed，' our Senior explained， 'to peace and quiet， and have no wish to go over to that worldly place of yours； for you people are certain to have published that it's my birthday， and to entertain the design to ask me to go round to receive the bows of the whole lot of you.&lt;br /&gt;
1.&amp;quot;genuine knowledge&amp;quot; →“real knowledge”--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 15:26, 13 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
你莫如把我从前注的《阴骘文》给我好好的叫人写出来刻了，比叫我无故受众人的头还强百倍呢！倘或明日后日这两天一家子要来，你就在家里好好的款待他们就是了。也不必给我送什么东西来；连你后日也不必来。休要心中不安，你今日就给我磕了头去。倘或后日你又跟许多人来闹我，我必和你不依。’如此说了，后日我是再不敢去的了。且叫来升来，吩咐他预备两日的筵席。”尤氏因叫了贾蓉来：“吩咐来升照例预备两日的筵席，要丰丰富富的。你再亲自到西府里请老太太、大太太、二太太和你琏二婶子来逛逛。你父亲今日又听见一个好大夫，已打发人请去了，想明日必来。你可将他这些日子的病症细细的告诉他。”&lt;br /&gt;
    &lt;br /&gt;
贾蓉一一答应着出去了。正遇着方才到冯紫英家去请那先生的小子回来&lt;br /&gt;
了，因回道：“奴才方才到了冯大爷家，拿了老爷名帖请那先生去，那先生说道：&lt;br /&gt;
‘方才这里大爷也向我说了，但是今日拜上一天的客，才回到家，此时精神实在&lt;br /&gt;
不能支持，就是去到府上也不能看脉，须得调息一夜，明日务必到府。’他又说：&lt;br /&gt;
‘医学浅薄，本不敢当此重荐，因冯大爷和府上既已如此说了，又不得不去，你先代我回明大人就是了。大人的名帖着实不敢当。’仍叫奴才拿回来了。哥儿替&lt;br /&gt;
奴才回一声儿。”贾蓉复转身进去，回了贾珍和尤氏的话，方出来叫了来升，吩咐预备两日的筵席的话。来升听毕，自去照例料理，不在话下。&lt;br /&gt;
Why don't you give me the Encouraging Virtue that I had annotated before and write it out for me. It is a hundred times stronger than the kotow of the audience for no reason! If the family is coming tomorrow or the next two days, you can just treat them well at home. You are neither to send me anything, nor to come the next day. Don't worry, you will kowtow to me today. If you come to me with many people the next day, I will not follow you. With that said, I will not dare to go again in the future. Call Ascend and tell him to prepare a feast for two days. Ms. You called Jia Rong to come: &amp;quot;Instruct Ascend to prepare a two-day banquet as usual, so that it should be rich and adquate. Invite the old lady, the eldest lady, the second lady and your second aunt in western mansion to stroll around. Your father heard of a good doctor today, he has sent someone to invite him, and tomorrow that doctor must be here . You can tell him in detail about his illness these days. &amp;quot;&lt;br /&gt;
Jia Rong agreed one by one and then went out. The boy who had just come to Feng Ziying’s house to invite that gentleman came back, he replied: &amp;quot;I, minion, just arrived at Feng Ziying’s house and took the master’s name and invited the gentleman to go. The gentleman said: ‘The old man here also told me just now. But today I visited the guest the whole day long before returning home. At this moment, my spirit can’t support. I can’t feel the pulse even when I go to the house. I have to adjust my breath overnight and I must go to the house tomorrow.’ He added: “For my limited medical knowledge. , I didn't dare to accept this recommendation. But Master Feng and the mansion had already said so, and I had to go. So you can return to Master Ming for me first. The master's invitation is such an excessive honor for me.’ Still he called me to bring it back. My young master please gave a reply for me instead.&amp;quot; Jia Rong turned back again and went in. After replying to Jia Zhen and Ms. You words, he came out and called for Ascend to prepare a two-day banquet. Ascend listened to it, and went to cook as usual, it’s a piece of cake.&lt;br /&gt;
&lt;br /&gt;
Why don’t you ask someone to engrave my notes of Encouraging Virtue? It is even better than let me to receive the kotow of people without no reason! If the family is coming tomorrow or in the next day, you shall just give them a good treat at home. Neither should you send me anything, nor come to visit me the next day. And don’t worry, because you have kowtowed today. But if you still put me to trouble with lots of people like today, I won’t give you a good treatment.’ Knowing these words said by her, I will not dare to visit her the day after tomorrow. You shall just ask Ascend to prepare the feast in the following two days.” The You called Lotus Merchant and said, “The two-days banquet should be rich and tasty, so you are supposed to instruct Ascend to make an adequate preparation for it. Then, you personally invite the old lady, the eldest lady, the second lady and your second aunt in western mansion to visit here. Your father heard that there is a skilled doctor, already sending someone to invite him, and tomorrow that doctor will be here. You can tell him the recent conditions of the illness in details. &amp;quot; Jia Rong agreed one by one and then went out. The boy who had just come to Purple Hero Feng’s house to invite that gentleman came back, he replied, &amp;quot;I, minion, just arrived at Purple Hero Feng’s house and took the master’s name and invited the gentleman to go. The gentleman said, ‘The old man here also told me just now. But today I visited the guest the whole day long before returning home. At this moment, my spirit can’t support. I can’t feel the pulse even when I go to the house. I have to adjust my breath overnight and I must go to the house tomorrow.’ He added, “For my limited medical knowledge. I didn't dare to accept this recommendation. But Master Feng and the mansion had already said so, and I had to go. So, you can return to Master Ming for me first. The master's invitation is such an excessive honor for me.’ Still, he called me to bring it back. My young master please gave a reply for me instead.&amp;quot; Jia Rong turned back again and went in. After replying Precious Merchant and the You, he came out and called for Ascend to prepare the two-day banquet. Ascend listened, and went to cook as usual. For him, it’s a piece of cake.----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
Why don’t you ask someone to engrave my notes of Encouraging Virtue? It is even better than let me to receive the kotow of people without no reason! If the family is coming tomorrow or in the next day, you shall just give them a good treat at home. Neither should you send me anything, nor come to visit me the next day. And don’t worry, because you have kowtowed today. But if you still put me to trouble with lots of people like today, I won’t give you a good treatment.’ Knowing these words said by her, I will not dare to visit her the day after tomorrow. You shall just ask Ascend to prepare the feast in the following two days.” Madam. Outstanding called Lotus Merchant and said, “The two-days banquet should be rich and tasty, so you are supposed to instruct Ascend to make an adequate preparation for it. Then, you personally invite the old lady, the eldest lady, the second lady and your second aunt in western mansion to visit here. Your father heard that there is a skilled doctor, already sending someone to invite him, and tomorrow that doctor will be here. You can tell him the recent conditions of the illness in details. &amp;quot;Prosperity Merchant agreed one by one and then went out. The boy who had just come to Purple Hero Feng’s house to invite that gentleman came back, he replied, &amp;quot;I, minion, just arrived at Purple Hero Feng’s house and took the master’s name and invited the gentleman to go. The gentleman said, ‘The old man here also told me just now. But today I visited the guest the whole day long before returning home. At this moment, my spirit can’t support. I can’t feel the pulse even when I go to the house. I have to adjust my breath overnight and I must go to the house tomorrow.’ He added, “For my limited medical knowledge. I didn't dare to accept this recommendation. But Master Feng and the mansion had already said so, and I had to go. So, you can return to Master Ming for me first. The master's invitation is such an excessive honor for me.’ Still, he called me to bring it back. My young master please gave a reply for me instead.&amp;quot; Prosperity Merchant turned back again and went in. After replying Treasure Merchant and the Madam Outstanding, he came out and called for Ascend to prepare the two-day banquet. Ascend listened, and went to cook as usual. For him, it’s a piece of cake.&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
且说次日午间，门上人回道：“请的那张先生来了。”贾珍遂延人大厅坐下，&lt;br /&gt;
茶毕，方开言道：“昨日承冯大爷示知老先生人品学问，又兼深通医学，小弟不胜钦敬。”张先生道：“晚生粗鄙下士，知识浅陋。昨因冯大爷示知，大人家第谦恭下士，又承呼唤，敢不奉命。但毫无实学，倍增汗颜。”贾珍道：“先生不必过谦，就请先生进去看看儿妇，仰仗高明，以释下怀。”&lt;br /&gt;
    &lt;br /&gt;
于是贾蓉同了进去，到了内室，见了秦氏，向贾蓉说道：“这就是尊夫人&lt;br /&gt;
了？”贾蓉道：“正是。请先生坐下，让我把贱内的病症说一说再诊脉何如？”那先生道：“依小弟意下，竟先看脉，再请教病源为是。我初造尊府，本也不知道什么，但我们冯大爷务必叫小弟过来看看，小弟所以不得不来。如今看了脉息，看小弟说得是不是，再将这些日子的病势讲一讲，大家斟酌一个方儿。可用不可&lt;br /&gt;
用，那时大爷再定夺就是了。”贾蓉道：“先生实在高明，如今恨相见之晚。就请先生看一看脉息可治不可治，得以使家父母放心。”于是家下媳妇们，捧过大迎枕来，一面给秦氏靠着，一面拉着袖口，露出手腕来。这先生方伸手按在右手脉上，调息了至数，凝神细诊了半刻工夫，换过左手，亦复如是。诊毕了，说道：“我们外边坐罢。”&lt;br /&gt;
    &lt;br /&gt;
贾蓉于是同先生到外边屋里坑上坐了，一个婆子端了茶来。贾蓉道：“先&lt;br /&gt;
生请茶。”茶毕，问道：“先生看这脉息，还治得治不得？”先生道：“看得尊夫人脉息：&lt;br /&gt;
&lt;br /&gt;
Then it came to the next day’s noon. The servant served at the door said, “Dr. Na-zhang whom we invited has arrived.” Treasure Merchant led he to the hall, inviting him to have a seat and enjoy a cup of tea. After that, Treasure Merchant said, “Yesterday, knowing your good qualities and profound knowledge, also, skilled at medicine through Uncle Feng, I extremely admire you. Dr. Zhang said, “I am just a coarse country folk with little knowledge and experience. Thanks to Uncle Feng’s recommendation yesterday and your being courteous to men of letters, I came here under your requirement. However, I feel deeply shameful, not really knowing something.” Treasure Merchant said, “You shall not be so modest. Now, I wish that you would come in and give my daughter-in-law a diagnosis. It all relies on you to solve the problem which has troubled me for a long time.”&lt;br /&gt;
Then the doctor came into the living room together with Lotus Merchant, saw Frivolity Grain and said to Lotus Merchant, “So, is she your wife?” Lotus Merchant replied, “Yes. And have a seat, please. How about let me tell you the condition of my wife’s disease before you have a diagnosis?” Dr. Na said, “From the point of my view, it seems better to have a diagnosis first, and then to know the cause of the disease. It is the first time for me to be here, not knowing much. I have to come here because Uncle Feng asked me to do so. Therefore, you shall tell whether I am right or not after I feel the pulse and later tell me the recent condition of the disease. We may together figure a treatment out. Then, it all depends on you whether to use it or not.” Lotus Merchant said, “How smart you are! What a pity that I have not known you earlier. Now, please feel her pulse and estimate whether it is curable as to comfort my parents.” Then, the housemaids came with a special pillow. One side of the pillow was used for the Qin to rely on; another side of the pillow’s cuff was pulled on to expose the wrist. The doctor pressed on the right wrist. He regulated his breath, observed the pulse conditions attentively and turned into the left wrist, repeated the process again. After the diagnosis, he said, “let’s have a seat outside.”&lt;br /&gt;
Lotus Merchant then sat on the heatable brick bed outside the room with the doctor. Tea was served by a housemaid. Lotus Merchant said, “Doctor, would you like to enjoy the tea?” After that, he asked, “Doctor, what’s your opinion towards the disease after the diagnosis, is it curable?” The doctor said, “After observing your wife’s diagnosis,&lt;br /&gt;
&lt;br /&gt;
Then it came to the next day’s noon. The servant served at the door said, “Dr.Zhang whom we invited has arrived.” Treasure Merchant led he to the hall, inviting him to have a seat and enjoy a cup of tea. After that, Treasure Merchant said, “Yesterday I was overwhelmed with admiration by all Mr.Feng told me of your character, learning and profound knowledge of medicine, sir.” Dr. Zhang said, “I am just a coarse country folk with little knowledge and experience. Thanks to Uncle Feng’s recommendation yesterday and your being courteous to men of letters, I came here under your requirement. I am ashamed, though, that I have no real learning.” Treasure Merchant said, “You are too modest, sir. May I trouble you to have a look at my daughter-in-law. It all relies on you to solve the problem which has troubled me for a long time.” Then the doctor came into the living room together with Lotus Merchant, saw Frivolity Grain and said to Lotus Merchant, “So, is she your wife?” Lotus Merchant replied, “Yes. And have a seat, please. How about let me tell you the condition of my wife’s disease before you have a diagnosis?” Dr. Na said, “From the point of my view, it seems better to have a diagnosis first, and then to know the cause of the disease. It is the first time for me to be here, not knowing much. I have to come here because Uncle Feng asked me to do so. Therefore, you shall tell whether I am right or not after I feel the pulse and later tell me the recent condition of the disease. We may together figure a treatment out. Then, it all depends on you whether to use it or not.” Lotus Merchant said, “How smart you are! What a pity that I have not known you earlier. Now, please feel her pulse and estimate whether it is curable as to comfort my parents.” Then, the housemaids came with a special pillow. One side of the pillow was used for Frivolity Grain to rely on; another side of the pillow’s cuff was pulled on to expose the wrist. The doctor pressed on the right wrist. He regulated his breath, observed the pulse conditions attentively and turned into the left wrist, repeated the process again. After the diagnosis, he said, “let’s have a seat outside.” Lotus Merchant then conducted him to another room. Tea was served by a housemaid. Lotus Merchant said, “Doctor, would you like to enjoy the tea?” After that, he asked, “Doctor, what’s your opinion towards the disease after the diagnosis, is there any cure for her?” The doctor said, “After observing your wife’s diagnosis,--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 14:50, 13 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Then it came to the next day’s noon. The servant served at the door said, “Dr. Na-zhang whom we invited has arrived.” Treasure Merchant led he to the hall, inviting him to have a seat and enjoy a cup of tea. After that, Treasure Merchant said, “Yesterday, knowing your good qualities and profound knowledge, also, skilled at medicine through Uncle Feng, I extremely admire you. Dr. Zhang said, “I am just a coarse country folk with little knowledge and experience. Thanks to Uncle Feng’s recommendation yesterday and your being courteous to men of letters, I came here under your requirement. However, I feel deeply shameful, not really knowing something.” Treasure Merchant said, “You shall not be so modest. Now, I wish that you would come in and give my daughter-in-law a diagnosis. It all relies on you to solve the problem which has troubled me for a long time.” Then the doctor came into the living room together with Prosperity Merchant, saw the Qin and said to Prosperity Merchant, “So, is she your wife?” Prosperity Merchant replied, “Yes. And have a seat, please. How about let me tell you the condition of my wife’s disease before you have a diagnosis?” Dr. Na said, “From the point of my view, it seems better to have a diagnosis first, and then to know the cause of the disease. It is the first time for me to be here, not knowing much. I have to come here because Uncle Feng asked me to do so. Therefore, you shall tell whether I am right or not after I feel the pulse and later tell me the recent condition of the disease. We may together figure a treatment out. Then, it all depends on you whether to use it or not.” Prosperity Merchant said, “How smart you are! What a pity that I have not known you earlier. Now, please feel her pulse and estimate whether it is curable as to comfort my parents.” Then, the housemaids came with a special pillow. One side of the pillow was used for the Qin to rely on; another side of the pillow’s cuff was pulled on to expose the wrist. The doctor pressed on the right wrist. He regulated his breath, observed the pulse conditions attentively and turned into the left wrist, repeated the process again. After the diagnosis, he said, “let’s have a seat outside.” Prosperity Merchant then sat on the heatable brick bed outside the room with the doctor. Tea was served by a housemaid. Prosperity Merchant said, “Doctor, would you like to enjoy the tea?” After that, he asked, “Doctor, what’s your opinion towards the disease after the diagnosis, is it curable?” The doctor said, “After observing your wife’s diagnosis,----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
左寸沉数，左关沉伏；右寸细而无力，右关虚而无神。其左寸沉数者，乃心气&lt;br /&gt;
虚而生火；左关沉伏者，乃肝家气滞血亏。右寸细而无力者，乃肺经气分太虚；&lt;br /&gt;
右关虚而无神者，乃牌土被肝木克制。心气虚而生火者，应现今经期不调，夜间&lt;br /&gt;
不寐。肝家血亏气滞者，应胁下痛胀，月信过期，心中发热。肺经气分太虚者，&lt;br /&gt;
头目不时眩晕，寅卯间必然自汗，如坐舟中。脾土被肝木克制者，必定不思饮&lt;br /&gt;
食，精神倦怠，四肢酸软。据我看这脉，当有这些症候才对。或以这个的为喜&lt;br /&gt;
脉，则小弟不敢闻命矣。”&lt;br /&gt;
   &lt;br /&gt;
旁边一个贴身伏侍的婆子道：“何尝不是这样呢！真正先生说得如神，倒&lt;br /&gt;
不用我们说的了。如今我们家里现有好几位太医老爷瞧着呢，都不能说得这样&lt;br /&gt;
真切。有的说道是喜，有的说道是病；这位说不相干，这位又说怕冬至前后，总&lt;br /&gt;
没有个真著话儿。求老爷明白指示指示。”&lt;br /&gt;
    &lt;br /&gt;
那先生说：“大奶奶这个症候，可是众位耽搁了。要在初次行经的时候就&lt;br /&gt;
用药治起，只怕此时已全愈了。如今既是把病耽误到这地位，也是应有此灾。&lt;br /&gt;
依我看起来，病倒尚有三分治得。吃了我这药看，若是夜间睡的着觉，那时又添&lt;br /&gt;
了二分拿手了。据我看这脉息，大奶奶是个心性高强、聪明不过的人；但聪明太&lt;br /&gt;
过，则不如意事常有；不如意事常有，则思虑太过。此病是忧虑伤脾，肝木忒旺，&lt;br /&gt;
经血所以不能按时而至。大奶奶从前行经的日子问一问，断不足常缩，必是常&lt;br /&gt;
长的。是不是？”&lt;br /&gt;
“A deep and agitated left distal pulse Indicates a febrile condition arising from the weak action of the heart; the deep and faint median pulse is due to anemia caused by a sluggish liver. A fiant and feeble distal pulse on the right wrist comes of debility of the lungs; a slight and listless median pulse indicates a wood element in the liver too strong for the earth element in the spleen. The fire produced by the weak action of the heart results in irregular menses and insomnia. A deficiency of blood and sluggish condition of the liver produce pain in the ribs, delayed menses and heartburn. Debility of the lungs leads to giddiness, perspiration in the early hours of the morning, and a feeling like sea-sickness. And the predominance of the wood element in the liver over the earth element in the spleen causes loss of appetite, general lassitude and soreness of the limbs. These are the symptoms I would expect from my reading of the lady's pulse. I cannot agree with the view that this pulse indicates a pregnancy. &amp;quot; An old woman who had been attending Keeping claimed, &amp;quot;That's exactly how it is. This doctor must have second sight: there's no need for us to tell him anything. Quite a few of our household physicians have seen her, but on one came so close to the truth. One says it's pregnancy; another says it's an illness. someone declares it's of no consequence; other one says there will be a crisis at the winter solstice. They can't make up their minds. Please tell us what to do, sir. &amp;quot; &amp;quot;Those gentlemen have delayed your lady's recovery,&amp;quot; said the doctor. &amp;quot;If she had taken the right medicine when she first missed her menses, she would have been quite well by now. Since she has had no effective treatment, this trouble is only to be expected. I would rate her chances of recovery at three out of ten. If she sleeps well tonight after taking my medicine, that will about double her chances. Judging by her pulse, your lady is highly strung and unusually intelligent. Because of this, she is easily upset and prone to worry, which has affected her spleen. The element of wood in the liver has produced hot humour which have upset her menstruation. I guess your lady's periods always tended to be irregular and several days late. Am I right?&amp;quot;--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 08:41, 10 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“A deep and agitated left distal pulse Indicates a febrile condition arising from the weak action of the heart; the deep and faint median pulse is due to anemia caused by a sluggish liver. A fiant and feeble distal pulse on her right wrist comes of debility of the lungs; a slight and listless median pulse indicates a wood element in the liver too strong for the earth element in the spleen. The fire produced by the weak action of the heart results in irregular menses and insomnia. The deficiency of blood and sluggish condition of the liver produce pain in the ribs, delayed menses and heartburn. Debility of the lungs leads to giddiness, perspiration in the early hours of the morning, and a feeling like sea-sickness. And the predominance of the wood element in the liver over the earth element in the spleen causes loss of appetite, general lassitude and soreness of the limbs. These are the symptoms I would expect from my reading of the lady's pulse. I can not agree with the view that this pulse indicates a pregnancy. &amp;quot; An old woman who had been attending Keeping claimed, &amp;quot;That's exactly how it is. This doctor must have second sight: there's no need for us to tell him anything. Quite a few of our household physicians have seen her, but on one came so close to the truth. One says it's pregnancy; another says it's an illness. someone declares it's of no consequence; other one says there will be a crisis at the winter solstice. They can't make up their minds. Please tell us what to do, sir. &amp;quot; &amp;quot;Those gentlemen have delayed your lady's recovery,&amp;quot; said the doctor. &amp;quot;If she had taken the right medicine when she first missed her menses, she would have been quite well by now. Since she has had no effective treatment, this trouble is only to be expected. I would rate her chances of recovery at three out of ten. If she sleeps well tonight after taking my medicine, that will about double her chances. Judging by her pulse, your lady is highly strung and unusually intelligent. Because of it, she is easily upset and prone to worry, which has affected her spleen. The element of wood in the liver has produced hot humour which have upset her menstruation. I guess your lady's periods always tended to be irregular and several days late. Is that right?&amp;quot;--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
这婆子答道：“可不是！从没有缩过，或是长两日三日，以至十&lt;br /&gt;
日不等，都长过的。”先生听道：“是了，这就是病源了。从前若能以养心调气之药服之，何至于此！这如今明显出一个水亏火旺的症侯来。待我用药看。”于&lt;br /&gt;
是写了方子，递与贾蓉，上写的是：&lt;br /&gt;
                &lt;br /&gt;
益气养荣补脾和肝汤&lt;br /&gt;
    &lt;br /&gt;
人参、白术、云苓、熟地、归身&lt;br /&gt;
自芍、川芎、黄芪、香附米、醋柴胡&lt;br /&gt;
怀山药、真阿胶、延胡索、炙甘草&lt;br /&gt;
引用建莲子七粒去心、大枣二枚&lt;br /&gt;
    &lt;br /&gt;
贾蓉看了说：“高明的很。还要请教先生：这病与性命终久有妨无妨？”先&lt;br /&gt;
生笑道：“大爷是最高明的人，人病到这个地位，非一朝一夕的症候了。吃了这&lt;br /&gt;
药，也要看医缘了。依小弟看来，今年一冬足不相干的。总是过了春分，就可望&lt;br /&gt;
全愈了。”贾蓉也是个聪明人，也不往下细问了。&lt;br /&gt;
    &lt;br /&gt;
于是贾蓉送了先生去了，方将这药方子并脉案都给贾珍看了，说的话也都&lt;br /&gt;
回了贾珍并尤氏了。尤氏向贾珍道：“从来大夫不像他说的痛快，想必用药不&lt;br /&gt;
错的。”贾珍道：“人家原来不是混饭吃的，久惯行医的人；因为冯紫英我们相好，他好容易求了他来的。既有了这个人，媳妇的病或者就能好了。他那方子上有人参，就用前日买的那一斤好的罢。”贾蓉听说毕话，方出来叫人抓药去煎给秦氏吃。不知秦氏服了此药，病势如何，且听下回分解。&lt;br /&gt;
&lt;br /&gt;
The old woman replied, &amp;quot;That's it! The time has never been shorter. On the contrary,  it's been longer with two or three days, even ten days or more sometimes.&amp;quot; The gentleman heard that and said, &amp;quot;That's the pathogeny. If she was able to take some medicine which can take care of her heart and nurse her health, how can it get into such a mess? Now she is ill with a symptom of too much heat and lacking dampness. Let me give you a prescription. &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Then he wrote a prescription and passed it to Cousin Rong. It noted that &amp;quot;Yiqiyangrongbugan Decoction&amp;quot;, which requires Ginseng, Atractylodes, Poria,  Prepared Rhizome of Rehmannia, Angelica Sinensis, Radix Paeoniae Alba, Ligusticum Wallichii, Astragalus Membranaceus, Cyperus rotundus L, Chinese Thorowax Root Red Thorowax Root, Dioscorea Oppsita, Colla Corii Asini, Corydalis Tuber, Honey-fried Licorice Root, together with seven Nelumbo Nucifera Gaertns without center heart part and two jujubes.&lt;br /&gt;
&lt;br /&gt;
After his looking, Cousin Rong said, &amp;quot;How intelligent! And I still need to ask Sir that is the disease obstructive to her life?&amp;quot; The gentleman smiled, &amp;quot;You are the most intelligent one. If a person has a disease in such a situation, it must take a long time to cure him. Though she takes the medicine, it still needs to listen to the order of luck. In my opinion, this winter is almost impossible to be well-healed. After the Spring Equinox, she will be fine.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Cousin Rong was also a smart person, and asked nothing from that time. Then he send the gentleman out and gave the note to Cousin Zhen, telling her and Madam You about what the gentleman had said. Madam You said to Cousin Zhen, &amp;quot;It is the first time that the doctor gives the note so fast. It must be right.&amp;quot; Cousin Zhen replied, &amp;quot;He is a skilled doctor and needs to be payed no money for his living. Feng Ziying asked hardly to invite him because of our good relationship. Now we have it, our son's wife will be cured. For the Ginseng in that note, we can use the one that we bought yesterday.&amp;quot; Cousin Rong then ask person to take medicine for Mis Qin. If you were willing know the situation after Mis Qin's taking the medicine, please listen to the next section's explanation.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 8:42, 26 April 2021 (UTC)&lt;br /&gt;
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The old woman replied, &amp;quot;That's it! The time has never been shorter. On the contrary,  it's been longer with two or three days, even ten days or more sometimes.&amp;quot; The gentleman heard that and said, &amp;quot;That's the pathogeny. If she was able to take some medicine which can take care of her heart and nurse her health, how can it get into such a mess? Now she is ill with a symptom of too much heat and lacking dampness. Let me give you a prescription. &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Then he wrote a prescription and passed it to Cousin Rong. It noted that &amp;quot;Yiqiyangrongbugan Decoction&amp;quot;, which requires Ginseng, Atractylodes, Poria,  Prepared Rhizome of Rehmannia, Angelica Sinensis, Radix Paeoniae Alba, Ligusticum Wallichii, Astragalus Membranaceus, Cyperus rotundus L, Chinese Thorowax Root Red Thorowax Root, Dioscorea Oppsita, Colla Corii Asini, Corydalis Tuber, Honey-fried Licorice Root, together with seven Nelumbo Nucifera Gaertns without center heart part and two jujubes.&lt;br /&gt;
&lt;br /&gt;
After his looking, Prosperity Merchant said, &amp;quot;How intelligent! And I still need to ask Sir that is the disease obstructive to her life?&amp;quot; The gentleman smiled, &amp;quot;You are the most intelligent one. If a person has a disease in such a situation, it must take a long time to cure him. Though she takes the medicine, it still needs to listen to the order of luck. In my opinion, this winter is almost impossible to be well-healed. After the Spring Equinox, she will be fine.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Prosperity Merchant was also a smart person, and asked nothing from that time. Then he send the gentleman out and gave the note to Treasure Merchant, telling her and Madam Outstanding about what the gentleman had said. Madam Outstanding said to Treasure Merchant, &amp;quot;It is the first time that the doctor gives the note so fast. It must be right.&amp;quot; Treasure Merchant replied, &amp;quot;He is a skilled doctor and needs to be payed no money for his living. Wade Fluorite asked hardly to invite him because of our good relationship. Now we have it, our son's wife will be cured. For the Ginseng in that note, we can use the one that we bought yesterday.&amp;quot; Prosperity Merchant then ask person to take medicine for Madam Frivolity. If you were willing know the situation after Madam Frivolity's taking the medicine, please listen to the next section's explanation.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 13:42, 26 April 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210331_culture&amp;diff=123403</id>
		<title>20210331 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210331_culture&amp;diff=123403"/>
		<updated>2021-06-16T05:31:08Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Homework 5 from Mar 31 for Apr 7, 2021&lt;br /&gt;
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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.&lt;br /&gt;
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'''《红楼梦》程甲本'''&lt;br /&gt;
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Please find the most beautiful translations of names and jointly agree to use them. Please also list common terms and joint translation here:&lt;br /&gt;
*Jia Baoyu = Precious Jade&lt;br /&gt;
*Jia Yucun = Rain Village&lt;br /&gt;
*Lin Daiyu = Mascara Jade&lt;br /&gt;
*Zhen Shiyin = Hide-the-facts&lt;br /&gt;
*...(everybody please add more here)&lt;br /&gt;
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&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;同学们：我们先做完从第四回和第五回以及第六回第七回'''剩下来的部分'''&amp;lt;/span&amp;gt;&lt;br /&gt;
=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
'''第四回（继续）'''&lt;br /&gt;
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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！”&lt;br /&gt;
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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？”&lt;br /&gt;
When it came to Rain-Village, no sooner had he taken up his post as prefect of Yingtian than a charge of murder was brought to his court. It was a case of two parties claiming to have purchased the same slave girl, neither willing to give away. As a result, one of them had been beaten to death. Rain-Village summoned the plaintiff for questioning. &amp;quot;The murdered man was my master,&amp;quot; the plaintiff testified. He bought a slave girl not knowing that she’d been kidnapped and paid for her in silver. Our master said he’d take her home three days later because that would be a lucky day. Then the kidnapper sold her on the sly to the Xue family.  When we found this out, we went to him to demand the girl. But the Xues lord it in Jinling with their money and powerful backing. A pack of their thugs beat my master to death, after which the murderers, after which the murderers, master and men, disappeared without a trace, leaving here only a few people who weren’t involved. I lodged a charge a year ago, but nothing came of it. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be everlastingly grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rain-Village. How can men commit a murder and go scot-free?&amp;quot; He was about to order his runners to arrest the criminals&amp;quot; relatives for interrogation, in order to find out the murderers&amp;quot; whereabouts and issue warrants for their arrest, when an attendant standing by his table shot him a warning glance. Then Rain-Village refrained and left the court in-some bewilderment. Back in his private office he dismissed everyone but the attendant, who went down on one knee in salute, then said with a smile: Your Honour has risen steadily in the official world. After eight or nine years, do you still remember me?&amp;quot; Your face looks very familiar, but I can’t place you.&amp;quot; The attendant smiled. High officials have short memories,&amp;quot; he said. &amp;quot;So you’ve forgotten the spot you started from, Your Honour, and what happened in Gourd Temple?&amp;quot;&lt;br /&gt;
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When it came to Rain-Village Merchant, no sooner had he taken up his post as prefect of Yingtian than a charge of murder was brought to his court. It was a case of two parties claiming to have purchased the same slave girl, neither willing to give away. As a result, one of them had been beaten to death. Rain-Village summoned the plaintiff for questioning. &amp;quot;The murdered man was my master,&amp;quot; the plaintiff testified. He bought a slave girl not knowing that she’d been kidnapped and paid for her in silver. Our master said he’d take her home three days later because that would be a lucky day. Then the kidnapper sold her on the sly to the Xue family.  When we found this out, we went to him to demand the girl. But the Xues lord it in Jinling with their money and powerful backing. A pack of their thugs beat my master to death, after which the murderers, after which the murderers, master and men, disappeared without a trace, leaving here only a few people who weren’t involved. I lodged a charge a year ago, but nothing came of it. I beg Your Honour to arrest the criminals, punish the evil-doers and help the widow and orphan. Then both the living and the dead will be everlastingly grateful!&amp;quot; &amp;quot;This is a scandal!&amp;quot; fumed Rain-Village. How can men commit a murder and go scot-free?&amp;quot; He was about to order his runners to arrest the criminals&amp;quot; relatives for interrogation, in order to find out the murderers&amp;quot; whereabouts and issue warrants for their arrest, when an attendant standing by his table shot him a warning glance. Then Rain-Village refrained and left the court in-some bewilderment. Back in his private office he dismissed everyone but the attendant, who went down on one knee in salute, then said with a smile: Your Honour has risen steadily in the official world. After eight or nine years, do you still remember me?&amp;quot; Your face looks very familiar, but I can’t place you.&amp;quot; The attendant smiled. High officials have short memories,&amp;quot; he said. &amp;quot;So you’ve forgotten the spot you started from, Your Honour, and what happened in Gourd Temple?&amp;quot;--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 15:17, 6 April 2021 (UTC)&lt;br /&gt;
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=Chén Kērǔ  陈柯汝=&lt;br /&gt;
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。&lt;br /&gt;
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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：&lt;br /&gt;
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贾不假，自玉为堂金作马。&lt;br /&gt;
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阿房官，三百里，住不下金陵一个史。&lt;br /&gt;
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东海缺少白玉床，龙王来请金陵王。&lt;br /&gt;
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丰年好大雪，珍珠如土金如铁。&lt;br /&gt;
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Rainvillage Merchant was surprised and he finally remembered him. This attendant was a monk in Gourd Temple. After the Gourd Temple was burned by the fire to ruins, nowhere to live, he tried to find somewhere else; however, having had enough of monastic austerity and wanting to do some easy and lively things, he wore long hair as he was still young and became an attendant. Rainvillage Merchant did not expect him, and he shook hands with the attendant immediately. He smiled and said: “You are my old friend.” The Merchant offered a sit to him. The monk dared not to sit with him, but the Merchant smiled: “I knew you when I was nobody, and I won’t forget our friendship. What’s more, this is my home. You can sit of course.” Hearing this, the attendant sat sideways finally.&lt;br /&gt;
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The Merchant asked: “Why did't you support me to give my order just now?”. “As you got a promotion and then came to this post, you did not ask somebody to copy an Officials' Protective brochure for you?” The monk answered. The Merchant asked eagerly: “ What is the Officials' Protective brochure?” And the monk explained: “ Nowadays local officials must have the brochure, where written the names of the most powerful and rich people; no one is an except. If you offend those people because you don’t know about this, you will loss your job and maybe even your life! And that’s why it is called an Officials' Protective brochure. The Xue household mentioned just now are one of those people who you can not offend! It is easy to judge this case. The officials before you did not settle this case out of deference.” When he was speaking, he took out an Officials' Protective brochure from his pocket and handed it to the Rainvillage. There were proverbs and public praises of those powerful household on the brochure. It said:&lt;br /&gt;
&lt;br /&gt;
The Jia Family,&lt;br /&gt;
If truth be told,&lt;br /&gt;
Have halls of jade,&lt;br /&gt;
Stables of gold.&lt;br /&gt;
Vast Pang Palace, 150 kilos,&lt;br /&gt;
Isn’t fine enough for the Shi Family of Jinling.&lt;br /&gt;
If the Dragon King wants a white jade bed,&lt;br /&gt;
He applies to the King of Jinling, it’s said.&lt;br /&gt;
A good harvest year as it is&lt;br /&gt;
The snow are so rich and grand,&lt;br /&gt;
Gold is like iron to them,&lt;br /&gt;
And pearls like sand.&lt;br /&gt;
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Rain-Village Merchant was surprised and he finally remembered him. This attendant was a monk in Gourd Temple. After the Gourd Temple was burned to ruins, nowhere to live, he tried to find something easy to do;however, having had enough of monastic austerity and wanting to do some easy and lively things, he wore long hair as he was still young and became an attendant. Rain-Village Merchant did not expect him, and he shook hands with the attendant immediately. He smiled and said: “You are my old friend.” The Merchant offered a sit to him. The monk dared not to sit with him, but the Merchant smiled: “I knew you when I was nobody, and I won’t forget our friendship. What’s more, this is my home. You can sit of course.” Hearing this, the attendant sat sideways finally.&lt;br /&gt;
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The Merchant asked: “Why didn't you support to give my order just now?”. “As you got a promotion and then came to this post, didn’t you ask anybody to copy an Officials' Protective brochure for you?” The monk answered. The Merchant asked eagerly: “ What is the Officials' Protective brochure?” And the monk explained: “ Nowadays local officials must have the brochure, where the names of the most powerful and rich people are written; no one is an exception. If you don’t know about this and offend those people, you will loss your job and maybe even your life! And that’s why it is called an Officials' Protective brochure. The Xue household mentioned just now are one of those people who you can not offend! It is easy to judge this case. The officials before you did not settle this case out of deference.” When he was speaking, he took out an Officials' Protective brochure from his pocket and handed it to the Rain-Village. There were proverbs and public praises of those powerful household on the brochure. It said:&lt;br /&gt;
&lt;br /&gt;
The Jia Family, &lt;br /&gt;
If truth be told, &lt;br /&gt;
Have halls of jade, &lt;br /&gt;
Stables of gold. &lt;br /&gt;
Vast Pang Palace, 150 kilos, &lt;br /&gt;
Isn’t fine enough for the Shi Family of Jinling. &lt;br /&gt;
If the Dragon King wants a white jade bed, &lt;br /&gt;
He applies to the King of Jinling, it’s said. &lt;br /&gt;
A good harvest year as it is &lt;br /&gt;
The snow are so rich and grand, &lt;br /&gt;
Gold is like iron to them, &lt;br /&gt;
And pearls like sand.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 16:09, 4 April 2021 (UTC)&lt;br /&gt;
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Rain-Village Merchant was surprised and just then he remembered him. This attendant was a monk in Gourd Temple. After the Gourd Temple was burned by the fire to ruins, nowhere to live, he tried to find somewhere else; however, having had enough of monastic austerity and wanting to do some easy and lively things, he wore long hair as he was still young and became an attendant. Rain-village Merchant did not expect him, and he shook hands with the attendant immediately. He smiled and said: “You are my old friend.” The Merchant offered a sit to him. The monk dared not to sit with him, but the Merchant smiled: “I knew you when I was nobody, and I won’t forget our friendship. What’s more, this is my home. You can sit of course.” Hearing this, the attendant sat sideways finally.&lt;br /&gt;
&lt;br /&gt;
The Merchant asked: “Why didn't you support me to give my order just now?”. “As you got a promotion and then came to this post, you did not ask somebody to copy an Officials' Protective brochure for you?” The monk answered. The Merchant asked eagerly: “ What is the Officials' Protective brochure?” And the monk explained: “ Nowadays local officials must have the brochure, where written the names of the most powerful and rich people; All local officials do so. If you offend those people because you don’t know about this, you will loss your job and maybe even your life! And that’s why it is called an Officials' Protective brochure. The Xue household mentioned just now are one of those people who you can not offend! It is easy to judge this case. The officials before you did not settle this case out of deference.” When he was speaking, he took out an Officials' Protective brochure from his pocket and handed it to the Rain-village. There were proverbs and public praises of those powerful household on the brochure. It said:&lt;br /&gt;
&lt;br /&gt;
The Merchant Family, If truth be told, Have halls of jade, Stables of gold. Vast Pang Palace, 150 kilos, Isn’t fine enough for the History Family of Gold Mausoleum. If the Dragon King wants a white jade bed, He applies to the King of Gold Mausoleum, it’s said. A good harvest year as it is The snows are so rich and grand, Gold is like iron to them, And pearls like sand.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 08:15, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
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？”&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
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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？”&lt;br /&gt;
&lt;br /&gt;
Having not finished reading, Rain-Village heard of the informer saying: “Mr Wang is asking for visiting.” Rain-Village quickly came out to welcome putting his clothes and cap in order. He didn’t come back until one meal finished and once he arrived, he inquired the attendant, with the reply that “The four family are all related, and among them one failure leads to another; so does success. They always helped one another to hide something dishonorable. At present, the defendant Xue is the so-called ‘auspicious snow’. Additionally, other than the assistance from another three family, there are many of Xue’s relatives and friends staying outside. Who can you arrest, my master?” Rain-Village heard of this, smiling to the attendant: “ As you say, what should I do to complete the case? It seems that you’ve already known the shelter of the suspect?”&lt;br /&gt;
&lt;br /&gt;
The attendant laughed: “As you guess, not only do I know the place, but also the kidnapper and the dead buyer. Let me tell you the detail, my master: The one hit dead is named Abyss-Feng, a son of a town official, with parents died and no bro. He only lived with poor heritance. At the age of 18 or 19, he is addicted to the male and not very interested in the female. Maybe that’s the destiny left by the previous life, letting him attracted by the girl at the first sight. Without thinking twice, he bought the girl as his concubine and promised not to get close to the male and never to marry others. Therefore, he made his mind and took it seriously, deciding the arrival of the girl in three days.&lt;br /&gt;
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What they didn’t predict was that the kidnapper secretly sold the girl to the Xue’s, readying to run away with the money of two buyers. Having not fled away, he was caught by tow family and smacked severely. And they two were both unwilling to receive the money back and what they want was the girl. It was impossible for Childe Xue to give up, so he commanded his servants beating Childe Feng terribly, without realizing that he would day in three days. Childe Xue was going to select a date to the capital, and after beating and looting, he went straight there with his families just as nothing happened, not escaping for what he had done. These kinds of things about murder case were arranged by his brothers and servants. Furthermore, do you have any idea for the sold girl, my master?” Rain-Village said: “How could I know?” The attendant sneered: “The person happened to be your benefactor, who is the daughter of Master Zhen lived near the Gourd-Temple, named Beauty-Lotus.” Hearing this, Rain-Village appalled: “It was him! I’ve heard that he was kidnapped by others at the age of 5, so why did he get sold at this time?”&lt;br /&gt;
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Having not finished reading, Rain-Village heard of the informer saying: “Mr Wang is asking for visiting.” Putting on his official robes and cap again, he went to receive the caller, coming back in the time it takes for a meal to ask for more information.Once he arrived, he inquired the attendant, with the reply that “These four families are all closely connected, and among them one failure leads to another; so does success. They always helped one another to hide something dishonorable. At present, the defendant Xue is the so-called ‘auspicious snow’. Additionally, other than the assistance from another three family, there are many of Xue’s relatives and friends staying outside. Who can you arrest, my master?” Rain-Village heard of this, smiling to the attendant: “ As you say, what should I do to complete the case? It seems that you’ve already known the shelter of the suspect?”&lt;br /&gt;
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The attendant laughed: “As you guess, not only do I know the place, but also the kidnapper and the dead buyer. Let me tell you the detail, my master: The one hit dead is named Abyss-Feng, a son of a town official, with parents died and no bro. He only lived with poor heritance. At the age of 18 or 19, he is addicted to the male and not very interested in the female. Maybe that’s the destiny left by the previous life, letting him attracted by the girl at the first sight. Without thinking twice, he bought the girl as his concubine and promised not to get close to the male and never to marry others. Therefore, he made his mind and took it seriously, deciding the arrival of the girl in three days.&lt;br /&gt;
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What they didn’t predict was that the kidnapper secretly sold the girl to the Xue’s, readying to run away with the money of two buyers. Having not fled away, he was caught by tow family and smacked severely. And they two were both unwilling to receive the money back and what they want was the girl. It was impossible for Childe Xue to give up, so he commanded his servants beating Childe Feng terribly, without realizing that he would day in three days. Childe Xue was going to select a date to the capital, and after beating and looting, he went straight there with his families just as nothing happened, not escaping for what he had done. These kinds of things about murder case were arranged by his brothers and servants. Furthermore, do you have any idea for the sold girl, my master?” Rain-Village said: “How could I know?” The attendant sneered: “The person happened to be your benefactor, who is the daughter of Master Zhen lived near the Gourd-Temple, named Beauty-Lotus.” Hearing this, Rain-Village appalled: “It was him! I’ve heard that he was kidnapped by others at the age of 5, so why did he get sold at this time?”&lt;br /&gt;
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Having not finished reading, Rain-Village heard of the informer saying, “Mr Wang is asking for visiting.” Putting on his official robes and cap again, he went to receive the caller, coming back in the time it takes for a meal to ask for more information.Once he arrived, he inquired the attendant, with the reply that “These four families are all closely connected, and among them one failure leads to another; so does success. They always helped one another to hide something dishonorable. At present, the defendant Xue is the so-called ‘auspicious snow’. Additionally, other than the assistance from another three family, there are many of Xue’s relatives and friends staying outside. Who can you arrest, my master?” Rain-Village heard of this, smiling to the attendant, “ As you say, what should I do to complete the case? It seems that you’ve already known the shelter of the suspect?”&lt;br /&gt;
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The attendant laughed, “As you guess, not only do I know the place, but also the kidnapper and the dead buyer. Let me tell you the detail, my master: The one hit dead is named Abyss-Feng, a son of a town official, with parents died and no bro. He only lived with poor heritance. At the age of 18 or 19, he was addicted to the male and not very interested in the female. Maybe that’s the destiny left by the previous life, letting him attracted by the girl at the first sight. Without thinking twice, he bought the girl as his concubine and promised not to get close to the male and never to marry others. Therefore, he made his mind and took it seriously, deciding the arrival of the girl in three days.&lt;br /&gt;
&lt;br /&gt;
What they didn’t predict was that the kidnapper secretly sold the girl to the Xue's, readying to run away with the money of two buyers. Having not fled away, he was caught by tow family and smacked severely. And they two were both unwilling to receive the money back and what they want was the girl. It was impossible for Childe Xue to give up, so he commanded his servants beating Childe Feng terribly, without realizing that he would day in three days. Childe Xue was going to select a date to the capital, and after beating and looting, he went straight there with his families just as nothing happened, not escaping for what he had done. These kinds of things about murder case were arranged by his brothers and servants. Furthermore, do you have any idea for the sold girl, my master?” Rain-Village said, “How could I know?” The attendant sneered, “The person happened to be your benefactor, who is the daughter of Master Zhen lived near the Gourd-Temple, named Beauty-Lotus.” Hearing this, Rain-Village appalled, “It was him! I’ve heard that he was kidnapped by others at the age of 5, so why did he get sold at this time?”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 06:48, 9 June 2021 (UTC)&lt;br /&gt;
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=Dèng Dān 邓丹=&lt;br /&gt;
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。&lt;br /&gt;
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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！”&lt;br /&gt;
“Kidnappers of this type make a point of stealing small girls.They bring them up somewhere out of the way until they're eleven or twelve, then take them elsewhere to sell according to their looks.We used to play with Sapientia every day. Although seven or eight years have passed and she's now a good-looking girl of twelve or thirteen, her features haven't changed and anyone who knew her can easily recognize her. Besides, she had a red birthmark the size of a grain of rice between her eyebrows, which makes me quite sure it's her. As the kidnapper happened to rent rooms from me, one day when he was away I asked her outright. She'd been beaten so much she was afraid to talk; she just insisted that he was her father, selling her to clear his debts.When I tried repeatedly to wheedle it out of her, she burst into tears and said she didn't remember a thing about her childhood. So there's no doubt. It's her, all right.The day that young Feng met her and paid down his silver, the kidnapper got drunk. Then Sapientia sighed, 'At last my trials are over!'She started worrying again, though, when she heard Feng wouldn't be fetching her for three days.I was so sorry for her that as soon as the kidnapper went out I sent my wife to cheer her up. “My wife told her: 'Mr. Feng's insistence on waiting for a lucky days is proof that he won't be treating you like a servant.Besides, he's a very fine gentleman, quite well-to-do, who never could abide women in the past, yet now he's paid a fancy price for you. That all goes to show you're quite safe. Just be patient for two or three days. You've no reason to worry.'She perked up a bit then, believing that she'd soon have a place where she belonged.But this world is full of disappointments: the very next day she was sold to the Xues. Any other family wouldn't have been so bad; but this young Xue, otherwise known as the Stupid Tyrant, is the most vicious ruffian alive, who throws money about like dirt.He started a big fight and then dragged her off by force more dead than alive. What's become of her since, I don't know. Feng Yuan dreamed of happiness, but instead of finding it he lost his life. Wretched luck, wasn't it?”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 16:09, 27 April 2021 (UTC)&lt;br /&gt;
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“Kidnappers of this type make a point of stealing small girls.They bring them up somewhere out of the way until they're eleven or twelve, then take them elsewhere to sell according to their looks.We used to play with Wiselotus Potterymaker every day. Although seven or eight years have passed and she's now a good-looking girl of twelve or thirteen, her features haven't changed and anyone who knew her can easily recognize her. Besides, she had a red birthmark the size of a grain of rice between her eyebrows, which makes me quite sure it's her. As the kidnapper happened to rent rooms from me, one day when he was away I asked her outright. She'd been beaten so much she was afraid to talk; she just insisted that he was her father, selling her to clear his debts.When I tried repeatedly to wheedle it out of her, she burst into tears and said she didn't remember a thing about her childhood. So there's no doubt. It's her, all right.The day that young Feng met her and paid down his silver, the kidnapper got drunk. Then Wiselotus Potterymaker  sighed, 'At last my trials are over!'She started worrying again, though, when she heard Feng wouldn't be fetching her for three days.I was so sorry for her that as soon as the kidnapper went out I sent my wife to cheer her up. “My wife told her: 'Mr. Feng's insistence on waiting for a lucky days is proof that he won't be treating you like a servant.Besides, he's a very fine gentleman, quite well-to-do, who never could abide women in the past, yet now he's paid a fancy price for you. That all goes to show you're quite safe. Just be patient for two or three days. You've no reason to worry.'She perked up a bit then, believing that she'd soon have a place where she belonged.But this world is full of disappointments: the very next day she was sold to the Xues. Any other family wouldn't have been so bad; but this young Xue, otherwise known as the Stupid Tyrant, is the most vicious ruffian alive, who throws money about like dirt.He started a big fight and then dragged her off by force more dead than alive. What's become of her since, I don't know. Feng Yuan dreamed of happiness, but instead of finding it he lost his life. Wretched luck, wasn't it?”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 07:15, 9 June 2021 (UTC)&lt;br /&gt;
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she just insisted that he was her father, asking her to clear his debts.When I tried hard to wheedle it out of her, she burst into tears and said she didn't remember a thing about her childhood. So there's no doubt. It's her, all right.The day that young Feng met her and paid down his silver, the kidnapper got drunk. Then Yinglian sighed, 'At last my trials are over!'She started worrying again, though, when she heard Feng wouldn't be fetching her for three days.I was so sorry for her that as soon as the kidnapper went out I sent my wife to cheer her up. “My wife told her: 'Mr. Feng's insistence on waiting for a lucky days is proof that he won't be treating you like a servant.Besides, he's a very fine gentleman, quite well-to-do, who never could abide women in the past, yet now he's paid a fancy price for you. That all goes to show you're quite safe. Just be patient for two or three days. You've no reason to worry.'She perked up a bit then, believing that she'd soon have a place where she belonged.But this world is full of disappointments: the very next day she was sold to the Xues. Any other family wouldn't have been so bad; but this young Xue, otherwise known as the Stupid Tyrant, is the most vicious ruffian alive, who throws money about like dirt.He started a big fight and then dragged her off by force more dead than alive. What's become of her since, I don't know. Feng Yuan dreamed of happiness, but not to find  he lost his life. Wretched luck, wasn't it?”--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 14:27, 10 April 2021 (UTC)Ding Zhongxia&lt;br /&gt;
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=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
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。”&lt;br /&gt;
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“This was retribution, no accident,” replied Yucun with a sigh. “Otherwise, why should Feng Yuan have taken a fancy to Yinglian and no one else?As for her, after being knocked about all those years by the kidnapper she at last saw a way out with a man who loved her, and if she'd married him all would have been well; but then this had to happen!Of course, Xue's family is richer than Feng's, but a profligate like Xue Pan is sure to have troops of maids and concubines and to be thoroughly debauched — he could never be as true to one girl as Feng Yuan.&lt;br /&gt;
So this romance was an empty dream, a chance encounter between an ill-fated young couple.Well, enough of that. What's the best way to settle this case?”“Your Honour used to be shrewd enough in the past,” said the attendant with a smile. “What's made you so short of ideas today？I heard that your appointment was due to the good offices of the Jias and Wangs, and this Xue is related to the Jias by marriage. &lt;br /&gt;
So why not sail with the stream and do them a good turn, settling this case in such a way that you can face them in future?”&lt;br /&gt;
“There's much in what you say. But a man's life is involved. Moreover, I've been re-instated by the Emperor's favour and am in fact beginning a new life. I should be doing my utmost to show my gratitude. How can I flout the law for private considerations? I really can't bring myself to do such a thing.”The attendant sneered: “Your Honour is right, of course. But that won't get you anywhere in the world today.&lt;br /&gt;
Remember the old sayings: 'A gentleman adapts himself to circumstances' and 'The superior man is one who pursues good fortune and avoids disaster.'If you do as you just said, not only will you be unable to repay the Emperor's trust, you may endanger your own life into the bargain. Better think it over carefully.”&lt;br /&gt;
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“This was retribution, no accident,” replied Rain Village with a sigh. “Otherwise, why should Feng Yuan have taken a fancy to Yinglian and no one else?As for her, after being knocked about all those years by the kidnapper she at last saw a way out with a man who loved her, and if she'd married him，all would have been well; but then this had to happen!Of course, Xue's family is richer than Feng's, but a profligate like Xue Pan is sure to have troops of maids and concubines and to be thoroughly debauched — he could never be so faithful to one girl as Feng Yuan.&lt;br /&gt;
So this romance was just an empty dream, a chance encounter between an ill-fated young couple.Well, enough of that. What's the best way to settle this case?”“Your Honour used to be shrewd enough in the past,” said the attendant with a smile. “What's made you so short of ideas today？I heard that your appointment was due to the good offices of the Jias and Wangs, and this Xue is related to the Jias by marriage. &lt;br /&gt;
So why not sail with the stream and do them a good turn, settling this case in such a way that you can face them in future?”&lt;br /&gt;
“There's much in what you say. But a man's life is involved. Moreover, I've been re-instated by the Emperor's favour and am in fact beginning a new life. I should be doing my utmost to show my gratitude. How can I flout the law for private considerations? I really can't bring myself to do such a thing.”The attendant sneered: “Your Honour is right, of course. But that won't get you anywhere in the world today.&lt;br /&gt;
Remember the old sayings: 'A wise man  adapts himself to circumstances' and 'The superior man is one who pursues good fortune and avoids disaster.'If you do as you just said, not only will you be unable to repay the Emperor's trust, you may endanger your own life into the obstacles . Better think it over carefully.”--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 05:54, 12 June 2021 (UTC)Ding Zhongxia&lt;br /&gt;
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=Dù Xīnyǔ 杜心语=&lt;br /&gt;
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。&lt;br /&gt;
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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。&lt;br /&gt;
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=Guō Yàbō 郭亚波=&lt;br /&gt;
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。...&lt;br /&gt;
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Let us return now to young Xue, who had bought Yinglian and had Feng Yuan beaten to death. He came of a scholarly Jinling family, but having lost his father while still a child he was thoroughly spoiled by his mother as the only son and heir, with the result that he grew up good for nothing. For they were millionaires, in receipt of an income from the State Treasury as Purveyors for the Imperial Household. Young Xue's name was Pan, his courtesy name Wenqi, and since the age of five or six he had shown himself extravagant in his habits and insolent in his speech. At school he merely learned a few characters, spending all his time on cockfights, riding or pleasure trips. Although a Court Purveyor, he knew nothing of business or worldly affairs but prevailed on his grandfather's old connections to find him a well-paid sine-cure in the Board of Revenue and left all business to his agents and old family servants. His widowed mother, nee Wang, was the younger sister of Wang Ziteng Commander-in-Chief of the Metropolitan Garrison, and the sister of Lady Wang, wife of Jia Zheng of the Rong Mansion. She was about forty years of age and Dragon Marshgrass was her only son. But she also had a daughter two years younger whose infant name was Precious Hairpin Marshgrass, a beautiful, dainty girl of great natural refinement. While her father was still alive he made her study, and she turned out ten times better than her brother. However, after her father's death it was so clear that Dragon Marshgrass would prove no comfort to their mother that Precious Hairpin Marshgrass gave up her studies and devoted herself to needlework and the household management, so as to share her mother's burden and cares. Recently, to honour culture, encourage propriety and search out talent, in addition to selecting consorts and ladies-in-waiting the Emperor in his infinite goodness had made the Board compile a list of the daughters of ministers and noted families from whom to choose virtuous and gifted companions for the princesses in their studies. Moreover, since the death of Dragon Marshgrass’s father, all the managers and assistants in the Purveyor's offices of different provinces had taken advantage of his youth and inexperience to start swindling, and even the business in the various family shops in the capital was gradually falling off.&lt;br /&gt;
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--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 06:16, 9 June 2021 (UTC)&lt;br /&gt;
Let us return now to young Marshgrass, who had bought Wiselotus and had Encountering Injustice beaten to death. He came from a scholarly GoldenHill family, but having lost his father while still a child. He was thoroughly spoiled by his widowed mother as the only son and heir, with the result that he grew up good at nothing. For they were millionaires, in receipt of an income from the State Treasury as Purveyors for the Imperial Household. Young Marshgrass's name was Dragon, his courtesy name Culture Start, and since the age of five or six he had shown himself extravagant in his habits and insolent in his speech. At school he merely learned a few characters, spending all his time on cockfights, riding or pleasure trips. Although a Court Purveyor, he knew nothing of business or worldly affairs but prevailed on his grandfather's old connections to find him a well-paid sine-cure in the Board of Revenue and left all business to his agents and old family servants. His widowed mother, nee Wang, was the younger sister of Soar King, Commander-in-Chief of the Metropolitan Garrison, and the sister of Lady Wang, wife of Mater Merchant of the Rong Mansion. She was about forty years of age and Dragon Marshgrass was her only son. But she also had a daughter two years younger whose infant name was Precious Hairpin Marshgrass, a beautiful, dainty girl of great natural refinement. While her father was still alive he made her study, and she turned out ten times better than her brother. However, after her father's death it was so clear that Dragon Marshgrass would prove no comfort to their mother that Precious Hairpin Marshgrass gave up her studies and devoted herself to needlework and the household management, so as to share her mother's burden and cares. Recently, to honour culture, to encourage propriety and to search out talents, in addition to selecting consorts and ladies-in-waiting the Emperor in his infinite goodness had made the Board compile a list of the daughters of ministers and noted families from whom to choose virtuous and gifted companions for the princesses in their studies. Moreover, since the death of Dragon Marshgrass’s father, all the managers and assistants in the Purveyor's offices of different provinces had taken advantage of his youth and inexperience to start swindling, and even the business in the various family shops in the capital was gradually falling off.&lt;br /&gt;
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=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
...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。&lt;br /&gt;
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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。”...&lt;br /&gt;
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...Xue Pan had always heard that the capital was the most prosperous place which he was considering a visit to, so he took this opportunity. The first purpose was to see off his younger sister who was waiting for being chosen; the second purpose was to visit his relatives, and the third purpose was to go into the section, settling old accounts and planning new ones in person. In fact, he just wanted to see the scenery of the country. Therefore, he had already packed his luggage and prepared some precious and portable things and sent his relatives and friends various of special local products as favours. When choosing an auspicious day to set out, surprisingly he run into that trafficker and bought Ms Intelligence-and-Elegance. Xue Pan saw that Ms Intelligence-and-Elegance was born with an extraordinary appearance, so he made up his mind to buy her immediately. But the Feng Family came to rob her. Then, in the backing of force he ordered his tough slaves to beat to death Feng Yuan. In this case, he entrusted the family affairs one by one with his clansmen and some old family members, and then went on a long journey, taking his mother and sisters with him. A lawsuit of human life was only child's play in his eyes. He alleged that no problem couldn't be solved only at the cost of a little money. &lt;br /&gt;
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Not knowing how many days on the way. That day when he was about to enter the capital, he heard that his mother's uncle, Wang Ziteng, had been promoted to nine provinces, and he was ordered to leave the capital to go on a tour of inspection of the border area. Xue Pan thought happily:&amp;quot; I am worried about going to Beijing under the control of my mother's uncle so that I can't spend money freely. Now my mother's uncle has been promoted outside the capital, which means that God is willing for what man is willing for.&amp;quot; Hence, he consulted with his mother:&amp;quot; Although we have a few houses in the capital, no one has lived in them for the past ten years. The watchman is likely to rent them to others furtively. We'd better ask someone to clean them up first.&amp;quot; His mother complained :&amp;quot; Why so ostentatious! When we come to the capital, we may first visit relatives or friends, either at your uncle's or your uncle's. Both of their houses are very spacious, so we'll stay there and then have someone to get things ready. Isn't it steadier?&amp;quot; Xue Pan said, &amp;quot;Now my uncle is leaving for another province, so naturally the family is in a hurry to set out. We are going to rush off one by one this time. Are we inconsiderate?&amp;quot;&lt;br /&gt;
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=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
...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。&lt;br /&gt;
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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。&lt;br /&gt;
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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。”&lt;br /&gt;
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...Your uncle, remarked his mother,“ is going on promotion, but there is besides the house of your aunt, my sister. Moreover, during these last few years from both your uncle's and aunt's have been sent messages time after time, and letters forwarded, asking us to come over. And now that we've come, though your uncle is busy with his preparations to start on his journey, that your aunt of the Merchant Family won't do all she can to ask us to stay? Besides, we have to get to our house ready in a scramble, won't it make people feel strange? However, I know your idea very well that if we were keep to stay at your uncle's and aunt's, you would feel being under strict restraint, unlike what would be when living in our own house, as you would free then act as you please! In this case, you may choose some pace to set yourself in while I myself, who have been separated with your aunt and cousins for several years, would like to stay with them for a few days, and I'll go along with your sister and look up your aunt at her house. What do you say, will this suit you?&amp;quot; Hearing his mother speak in this strain, Dragon Marshgrass knew well enough that he would not change her mind; and he had no help but to instruct the servants to make straight to the Honor-Mansion.&lt;br /&gt;
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By this time, Madam King had already knew that the lawsuit in which Dragon Marshgrass was concerned, Rainvillage Merchant had fortunately intervened and lent his good offices, and was more composed in her mind; but when she again saw that her eldest bother had been assigned to a post on the frontier, she was deploring that how lonely she would feel when would have little intercourse with the relatives of her mother's family. After a few days, when one of the household brought the unexpected announcement that &amp;quot; our lady, your sister, with the young gentleman, the young lady and her whole household have entered the capital and have got from their vehicles outside the main entrance.&amp;quot; This news so delighted Madam King and she rushed out with a few attendants to great them in the large Entrance Hall and brought Mrs. Marshgrass and the others into her house. The two sisters were reunited, at their old age, so that the mixed feelings of sorrow and joy thronged together, but on those, of course, needless to dilate. After conversing for a time on what had happened, Madam King took them to pay a formal visit to dowager Lady Merchant. Then they handed over the various kinds of presents and indigenous articles, and after the whole family had been introduced, a banquet was also spread to greet the guests.&lt;br /&gt;
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Dragon Marshgrass have paid his respects to Master Merchant and Romance Merchant, was also taken to see Pardon Merchant, Treasure Merchant and the other members. Master Merchant sent a messenger to tell Madam King that &amp;quot;Aunt Marshgrass had already seen many springs and autumns, while their nephew was of tender age, with no experience, so there was fear that something would take place again when he lives outside. In the South-east corner of our compound, there are over ten apartments in the Pear Fragrance Court, all of which are vacant, and we were tell the servants to clean them and invite Aunt Marshgrass and the young gentleman and lady to stay there, it would be an extremely wise thing.&amp;quot;&lt;br /&gt;
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...Your uncle, remarked his mother,“ is going on promotion, but there is besides the house of your aunt, my sister. Moreover, during these last few years from both your uncle's and aunt's have been sent messages time after time, and letters forwarded, asking us to come over. And now that we've come, though your uncle is busy with his preparations to start on his journey, that your aunt of the Merchant Family won't do all she can to ask us to stay? Besides, we have to get to our house ready in a scramble, won't it make people feel strange? However, I know your idea very well that if we kept staying at your uncle's and aunt's, you would feel being under strict restraint, unlike what would be when living in our own house, as you would free then act as you please! In this case, you may choose some pace to set yourself in while I myself, who have been separated from your aunt and cousins for several years, would like to stay with them for a few days, and I'll go along with your sister and look up your aunt at her house. What do you say, will this suit you?&amp;quot; Hearing his mother speak in this strain, Dragon Marshgrass knew well enough that he would not change her mind; and he had no help but to instruct the servants to make straight to the Honor-Mansion.&lt;br /&gt;
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By this time, Madam King had already known that the lawsuit in which Dragon Marshgrass was concerned, Rainvillage Merchant had fortunately intervened and lent his good offices, and was more composed in her mind; but when she again saw that her eldest brother had been assigned to a post on the frontier, she was deploring that how lonely she would feel when would have little intercourse with the relatives of her mother's family. After a few days, when one of the households brought the unexpected announcement that &amp;quot; our lady, your sister, with the young gentleman, the young lady and her whole household have entered the capital and have got from their vehicles outside the main entrance.&amp;quot; This news so delighted Madam King and she rushed out with a few attendants to great them in the large Entrance Hall and brought Mrs. Marshgrass and the others into her house. The two sisters were reunited, at their old age, so that the mixed feelings of sorrow and joy thronged together, but on those, of course, needless to dilate. After conversing for a time on what had happened, Madam King took them to pay a formal visit to dowager Lady Merchant. Then they handed over the various kinds of presents and indigenous articles, and after the whole family had been introduced, a banquet was also spread to greet the guests.&lt;br /&gt;
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Dragon Marshgrass has paid his respects to Master Merchant and Romance Merchant, was also taken to see Pardon Merchant, Treasure Merchant and the other members. Master Merchant sent a messenger to tell Madam King that &amp;quot;Aunt Marshgrass had already seen many springs and autumns, while their nephew was of tender age, with no experience, so there was fear that something would take place again when he lives outside. In the South-east corner of our compound, there are over ten apartments in the Pear Fragrance Court, all of which are vacant, and we were told the servants to clean them and invite Aunt Marshgrass and the young gentleman and lady to stay there, it would be an extremely wise thing.&amp;quot;--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:23, 15 June 2021 (UTC)&lt;br /&gt;
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=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
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。&lt;br /&gt;
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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。...&lt;br /&gt;
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Before Lady King could accept this invitation, Grandma Merchant also sent someone to her, “Please invite your sister to stay here so that we can all be close together.” Aunt Marshgrass was only too glad to comply so as to have some check on her son, who was likely to get up to fresh mischief if they lived outside. She promptly accepted with thanks and in private intimated to Lady King that, if she was to make a long stay, she must be allowed to defray all her household’s daily expenses. Lady King knew that this presented no difficulty for the Xue family, and therefore agreed. So Aunt Marshgrass and her daughter moved into Pear Fragrance Court.&lt;br /&gt;
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This court where the Duke of Rongguo had spent his declining years was small but charming, its dozen or so rooms including a reception hall in front and the usual sleeping rooms behind. It had its own entrance to the street which the Marshgrass household used, while a passage from a southwest gate led to the east courtyard of Lady King’s main apartment. Every day after lunch or in the evening, Aunt Marshgrass would walk over to chat with the Grandma Merchant or to talk over the old days with her sister. Precious Hairpin spent her time with Mascara Jade, Spring Pleasure and the other girls, reading, playing chess or sewing with them, full of pleasure. Only Dragon Marshgrass at first disliked this arrangement, for fear that his uncle would control him so strictly that he would not be his own master. He had to comply for the time being, however, because his mother had made up her mind to it and the Merchants’ pressed them so hard to stay. He sent servants to make ready one of his own houses for when he decided to move. To his relief, after less than a month he found himself on familiar terms with half the Merchant sons and nephews, and all the rich young men of fashion among them enjoyed his company. One day they would meet to drink, the next to look at flowers, and soon they included him in gambling parties or visits to the courtesans' quarters, as a result, Dragon Marshgrass rapidly became even ten times worse than before.&lt;br /&gt;
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--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 16:35, 26 April 2021 (UTC)&lt;br /&gt;
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=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
...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。&lt;br /&gt;
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◎第五回 贾宝玉神游太虚境  警幻仙曲演红楼梦&lt;br /&gt;
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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。&lt;br /&gt;
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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。&lt;br /&gt;
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。&lt;br /&gt;
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Although Master Jia did well in educating his sons and managing the household, he failed to arrange everything perfectly. Firstly, it was a big family with so many people. Secondly, Precious Merchant, the eldest grandson of Ning Mansion, was the master now. All the things were in the charge of him. Thirdly, the public affairs and the private ones were mixed together. He was always unrestrained, not caring about the trifles. In his spare time, he just read books or played chess. Since Pear Fragrance Court was two courtyards away from his quarters and had its own entrance to the street through which people could pass at will, the young men just enjoyed themselves. Therefore, Xue Pan gave up the thoughts of moving before long.&lt;br /&gt;
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Chapter 5&lt;br /&gt;
Precious Jade Is Lost in the Fairyland &lt;br /&gt;
The Goddess of Disenchantment Dwells on the Love Dream&lt;br /&gt;
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The fourth chapter has told briefly how the Xues stayed in the Rong Mansion, now let’s return to Mascara Jade.&lt;br /&gt;
Since she came to Rong Mansion, Mammy Jia had been lavishing affection on her and arranged everything for her, just as what she did to Precious Jade. Even the three granddaughters Welcome Spring, Exploring Spring or Treasuring Spring were unable to get such privilege. Unlike others, the two were so close that they went everywhere together at daytime and returned and rested together at night. They were really shadows of each other, closely associated. But now Precious Hairpin came. Though slightly older, she was such an elegant lady and so enchanting that most people considered Mascara Jade was inferior to her. Besides, Precious Hairpin was generous, tactful and acted in accommodating ways. Compared to Mascara Jade’s reserve, she won the hearts of the subordinates, so that nearly all the maids like to chat with her. For this reason, Mascara Jade began to feel the taste of jealousy, of which Precious Hairpin was completely unaware. Precious Jade was still on a boy, born to be a wilful one. He treated his brothers, sisters and cousins alike without any difference between close and distant relatives.&lt;br /&gt;
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Although Master Jia educated his sons and keep the household environment very well, he failed to arrange everything perfectly. Firstly, His family is large with so many people. Secondly, Precious Merchant, the eldest grandson of Ning Mansion, was the master now. All the things were in the charge of him. Thirdly, his public affairs and private ones were mixed together in a mess. He was always unrestrained, not worrying about the trifles. _Li Yihao&lt;br /&gt;
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=Lǐ Yìhào 李艺浩=&lt;br /&gt;
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。&lt;br /&gt;
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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。&lt;br /&gt;
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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。&lt;br /&gt;
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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：&lt;br /&gt;
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世事洞明皆学问，人情练达即文章。&lt;br /&gt;
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Now Mascara Jade Forest and Precious Jade Merchant lived with Grandma Merchant, so they were more familiar and intimated than others. But this also caused them more unexpected contradictions in each other. One day, without any sign, Mascara Jade Forest wept alone silently in her room for some disagreement between them. And Precious Jade Merchant regretted words offence and coaxed Mascara Jade Forest. So Mascara Jade Forest gradually turned her bad mood. &lt;br /&gt;
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The plum blossom in the garden of Ning in the east of Jia. So Madam Outstanding, Jia Zhen's wife, placed wine set and invited Mother Jia, Mrs Wang and Lady City to enjoy the beauties of the plum blossom.Then she brought Jia Rong couple to greet. The group of Jia strolled about Hui Fang Garden, sipping tea and then drinking. For this activity, there is not new and interesting things to record because it is only their family feast.&lt;br /&gt;
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Precious Jade Merchant was tired and long for a afternoon nap, so Grandma Merchant coaxed him for a while to have a break and come back. Jia Rong's wife smiled and said to Grandma Merchant:&amp;quot; please at ease, there is a exclusive room for Precious Jade Merchant. I will be responsible for everything.''&amp;quot;please come with me to follow Precious Jade Merchant.&amp;quot;, she said to Precious Jade Merchant's servants. Grandma Merchant knew and appreciated Qin was a cautious and thoughtful person, with good figure and a sweet temper, so she trusted her to follow Precious Jane.&lt;br /&gt;
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After Qin guided this group to a pretty good room, Precious Jade Merchant turned ahead and was joyless to see a painting with good figures but a story of &amp;quot; Ran Li&amp;quot;. And there was a pair of couplets with the words&amp;quot; the insight for the world is a refined knowledge and the well familiarity for humans relationship makes articles complete&amp;quot;.&lt;br /&gt;
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Modification：&lt;br /&gt;
Now Daiyu and Precious Jane lived with Mother Jane, so they were more familiar and intimated than others. But this also caused them more unexpected contradictions with each other. One day, without any sign, Daiyu wept alone silently in her room for some disagreement between them. And Precious Jane felt regret that he had said words roughly. Presently he made his peace with her and gradually Daiyu’s equanimity was recovered.&lt;br /&gt;
In the east of Jia, the Ning garden’s plum blossomed. So You, Jia Zhen's wife, placed wine set and invited Mother Jia, Mrs Wang and Mrs Xing to enjoy the beauties of the blossom.On that day, she brought The Rongs, to greet. The group of Jia strolled about Hui Fang Garden, sipping tea and then drinking. For this activity, there is not new and interesting things to record because it is only their family feast.&lt;br /&gt;
Precious Jane was tired and long for an afternoon nap, so Mother Jia coaxed him to have a break for a while and then came back. Jia Rong's wife smiled and said to Mother Jia:“ Please at ease, there is an exclusive room for Precious Jane. I will be responsible for everything.”&amp;quot;Come with me to follow Precious Jane.&amp;quot; she said to Precious Jane's servants. Mother Jane knew and appreciated that Qin was a cautious and thoughtful woman, with good figure and sweet temper, so she trusted her to take care of Precious Jane.&lt;br /&gt;
After Mrs.Qin guided the party to an inner room in the main building, Precious Jane looked up and found a painting distasteful. The figures are finely worked, but it represented a story of &amp;quot; Ran Li&amp;quot;.  And there was a pair of mottoes:&amp;quot; The clear insight into human activities is a true learning. The skilful manipulation of human relationships refers to a Genuine culture&amp;quot;.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 05:28, 7 April 2021 (UTC)Liu Tingyang&lt;br /&gt;
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=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
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。”&lt;br /&gt;
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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：&lt;br /&gt;
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嫩寒锁梦因春冷，芳气袭人是酒香。&lt;br /&gt;
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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。...&lt;br /&gt;
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After reading this couplet, in vain the elegant beauty and splendid furnishings of the room, Precious Jade insisted to go out of here. Mrs.Qin said with a smile: “If it is not good enough for you, where are you going to stay? How about having your rest in my bedroom?” Precious Jade nodded his head with a little smile. A nurse added: “Who ever heard of such a thing like an uncle will sleep in the bedroom of his nephew’s wife?”Mrs.Qin laughed. She said: “Ah, in fact, he’s only a little boy，so we don’t have to worry about him. Remember? Last month, you met my brother who came here. Although both of them at the same age, if they stand side by side, probably my brother is a little bit taller.”&lt;br /&gt;
Precious Jade said: “Why haven’t I seen your brother before? Please bring him to meet me.”People laughed and said: “There is twenty or thirty miles away from here! How does he come? But you’ll meet him soon.”&lt;br /&gt;
In the course of communicating, people had reached Mrs.Qin’s bedroom. As Precious Jade entered, a subtle whiff of a fragrant perfume overwhelmed him, which seemed to melt his bones. He exclaimed over it admiringly: “It smells good!” Entering the room and looking up the wall, there is a picture named Spring Slumber painted by Tong Pak Fu. The painting was flanked on both side by a couplet by a Song poet Qin Guan: &lt;br /&gt;
Spring coldness has imprisoned a wintry dream; &lt;br /&gt;
The scents of wine have intoxicated beholders. &lt;br /&gt;
The desktop had placed an antique mirror which once was set in the mirror room of Empress Wu Ze-tian. And on the other side, there was a golden plate which is about Zhao Feiyan who was dancing, filling with papaya that Lushan threw to Yang Guifei. In this room, there was a priceless bed that Princess Shouchang used in Han-zhang Palace, which hung a canopy by Princess Tongchang. Precious Jade said with a laugh, “I like it here.” Mrs. Qin smiled and said: “Maybe even immortals could live in this room.” She unfolded a quilted coverlet that Xishi washed and arranged a Mandarin duck pillow that Hongniang once carried. So several nurses helped Precious Jade to bed and then tiptoed out. Only his four young maids: Aroma, Skybright, Musk, and Ripple stayed there.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 12:10, 6 April 2021 (UTC)Liu Tingyang&lt;br /&gt;
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After reading this couplet, in vain the elegant beauty and splendid furnishings of the room, Precious Jade insisted to go out of here and said&amp;quot;Go out!&amp;quot; Mrs.Qin said with a smile: “If it is not good enough for you, where are you going to stay? How about having your rest in my bedroom?” Precious Jade nodded his head with a little smile. A mammy added: “Who ever heard of such a thing like an uncle will sleep in the bedroom of his nephew’s wife?”Mrs.Qin laughed. She said: “Ah, in fact, he’s only a little boy，so we don’t have to worry about him. Remember? Last month, you met my younger brother who came here. Although both of them at the same age, if they stand side by side, probably my brother is a little bit taller.”&lt;br /&gt;
Precious Jade said: “Why haven’t I seen your brother before? Please bring him to meet me.”People laughed and said: “There is twenty or thirty miles away from here! How does he come? But you’ll meet him soon.”&lt;br /&gt;
In the course of communicating, people had reached Mrs. Qin's bedroom. As Precious Jade entered, a subtle whiff of a fragrant perfume overwhelmed him, which seemed to melt his bones. He exclaimed over it admiringly: “It smells good!” Entering the room and looking up the wall, there was a picture named Spring Slumber painted by Tong Pak Fu. The painting was flanked on both side by a couplet by a Song poet Qin Guan: &lt;br /&gt;
Spring coldness has imprisoned a wintry dream; &lt;br /&gt;
The scents of wine have intoxicated beholders. &lt;br /&gt;
The desktop had placed an antique mirror which once was set in the mirror room of Empress Wu Ze-tian. And on the other side, there was a golden plate which is about Zhao Feiyan who was dancing, filled with papaya that Lushan threw to Yang Guifei. In this room, there was a priceless bed that Princess Shouchang used in Han-zhang Palace. A canopy by Princess Tongchang was hung over it. Precious Jade said with a laugh, “It's good here.” Mrs. Qin smiled and said: “Maybe even immortals could live in this room.” She unfolded a quilted coverlet that Xishi had washed and arranged a Mandarin duck pillow that Hongniang had once carried in person. So several wet nurses helped Precious Jade to lie in the bed and then tiptoed out. Only his four young maids: Aroma, Skybright, Musk, and Ripple stayed there.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 12:51, 6 April 2021 (UTC)&lt;br /&gt;
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After reading this couplet, in vain the elegant beauty and splendid furnishings of the room, Precious Jade insisted to go out of here and said&amp;quot;Go out!&amp;quot; Frivolity Grain said with a smile: “If it is not good enough for you, where are you going to stay? How about having your rest in my bedroom?” Precious Jade nodded his head with a little smile. A mammy added: “Who ever heard of such a thing like an uncle will sleep in the bedroom of his nephew’s wife?”Frivolity Grain laughed. She said: “Ah, in fact, he’s only a little boy，so we don’t have to worry about him. Remember? Last month, you met my younger brother who came here. Although both of them at the same age, if they stand side by side, probably my brother is a little bit taller.” Precious Jade said: “Why haven’t I seen your brother before? Please bring him to meet me.”People laughed and said: “There is twenty or thirty miles away from here! How does he come? But you’ll meet him soon.” In the course of communicating, people had reached Frivolity Grain's bedroom. As Precious Jade entered, a subtle whiff of a fragrant perfume overwhelmed him, which seemed to melt his bones. He exclaimed over it admiringly: “It smells good!” Entering the room and looking up the wall, there was a picture named Spring Slumber painted by Tong Pak Fu. The painting was flanked on both side by a couplet by a Song poet Qin Guan: Spring coldness has imprisoned a wintry dream; The scents of wine have intoxicated beholders. The desktop had placed an antique mirror which once was set in the mirror room of Empress Wu Ze-tian. And on the other side, there was a golden plate which is about Zhao Feiyan who was dancing, filled with papaya that Lushan threw to Yang Guifei. In this room, there was a priceless bed that Princess Shouchang used in Han-zhang Palace. A canopy by Princess Tongchang was hung over it. Precious Jade said with a laugh, “It's good here.” Frivolity Grain smiled and said: “Maybe even immortals could live in this room.” She unfolded a quilted coverlet that Xishi had washed and arranged a Mandarin duck pillow that Hongniang had once carried in person. So several wet nurses helped Precious Jade to lie in the bed and then tiptoed out. Only his four young maids: Aroma, Autumn Vein, Sunny Cloud Formation, and Musk Deer Month stayed there.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 12:02, 27 April 2021 (UTC)&lt;br /&gt;
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=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
...秦氏便吩咐小丫鬟们好生在檐下看着猫儿打架。&lt;br /&gt;
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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：&lt;br /&gt;
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春梦随云散，飞花逐水流；寄言众儿女：何必觅闲愁。&lt;br /&gt;
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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：&lt;br /&gt;
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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。&lt;br /&gt;
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。...&lt;br /&gt;
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Mrs. Qin ordered servant girls to well watch the fighting of the cats.&lt;br /&gt;
Precious Jade was in a trance as soon as he closed his eyes. In his dream, he followed a person who was like Mrs. Qin to a place. He saw walls of jasper and pillars and balustrades of ruby as well as green trees and clear streams. There were no human beings and even no floating dust. Precious Jade was happy in the dream. He thought that this place was interesting and he would like to live there for life time although abandoning his home, which was better than being beaten by his parents. When he was woolgathering, he suddenly heard someone singing behind the mountains.&lt;br /&gt;
The lyrics was that “spring dreams disappear with the clouds and flying flowers go with the current; sending a message to children: why seeking worries?”&lt;br /&gt;
Precious Jade recognized that voice was from a woman. The singing did not fade and a beauty showed up who had a slender and graceful body, different from normal people. &lt;br /&gt;
There was an ode to prove it: She has just left the dense willow forest and come out of the fragrant flower house. Wherever she has been, the birds have flown from the trees because of her beauty. Although she has not yet arrived, her figure has already crossed the corridor. Her sleeves are just unfolded, and the fragrance of musk orchids is smelled; As the clothes of lotus flower fluttering and moving, then the ring’s tinkling is heard. Her peach-like face shows charming dimples, and her thick cloud-like hair is pulled into a green mountain-like bun. Her lips are slightly open, as red as a cherry, and her teeth are fragrant, as bright as pomegranate seeds. The slender waist is very attractive, and the body is light and airy. The pearl and jade on the head, the forehead is covered with a delightful goose yellow silk. She is hidden among the flowers, and she is pleasing whether she is angry or happy. She lingers in the lotus pond, floating as if to fly away. Smiling with a long and curved brow, she wants to say something but has no words. The lotus steps just move, want to stop but then go forward. I envy the beauty's good qualities, as clear as ice and as moist as jade. I admire her gorgeous clothes with their shiny patterns. I adore her beautiful face, like spices made of jade; I praise her grace, like a free phoenix flying, a dragon soaring. What is she like in her simplicity? Like a plum blossoming in spring with snow; What is she like in purity? Like a chrysanthemum in autumn with thin frost. What is her quiet like? Like a pine growing in a quiet valley; What is her beauty like? Like the colorful haze reflected in the clear pond. What is her elegance like? Like a dragon wandering in a curved pond; What is her eye expression like? Like the bright moonlight shining on the cold river. Her beauty makes Xi Shi and Wang Zhaojun ashamed.&lt;br /&gt;
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Mrs. Qin ordered servant girls to watch the fighting of the cats. &lt;br /&gt;
&lt;br /&gt;
Precious Jade was in a trance as soon as he closed his eyes. In his dream, he followed a person who was like Mrs. Qin to a place. He saw walls of jasper and pillars and balustrades of ruby as well as green trees and clear streams. There were no human beings and even no floating dust. Precious Jade was happy in the dream. He thought that this place was interesting and he would like to live there for life time although abandoning his home, which was better than being beaten by his parents. When he was woolgathering, he suddenly heard someone singing behind the mountains. &lt;br /&gt;
&lt;br /&gt;
The lyrics that “spring dreams disappear with the clouds and flying flowers go with the current; sending a message to children: why seeking worries?” &lt;br /&gt;
&lt;br /&gt;
Precious Jade recognized that voice was from a woman. The singing did not fade and a beauty showed up who had a slender and graceful body, different from normal people. There was an ode to prove it:&lt;br /&gt;
&lt;br /&gt;
She has just left the dense willow forest and come out of the fragrant flower house. Wherever she has been, the birds have flown from the trees because of her beauty. Although she has not yet arrived, her figure has already crossed the corridor. Her sleeves are just unfolded, and the fragrance of musk orchids is smelled; as the clothes of lotus flower fluttering and moving, then the ring’s tinkling is heard. Her peach-like face shows charming dimples, and her thick cloud-like hair is pulled into a green mountain-like bun. Her lips are slightly open, as red as a cherry, and her teeth are fragrant, as bright as pomegranate seeds. The slender waist is very attractive, and the body is light and airy. The pearl and jade on the head, the forehead is covered with delightful goose yellow silk. She is hidden among the flowers, and she is pleased whether she is angry or happy. She lingers in the lotus pond, floating as if to fly away. Smiling with a long and curved brow, she wants to say something but has no words. The lotus steps just move, want to stop but then go forward. I envy the beauty's good qualities, as clear as ice and as moist as jade. I admire her gorgeous clothes with their shiny patterns. I adore her beautiful face, like spices made of jade; I praise her grace, like a free phoenix flying, a dragon soaring. What is she like in her simplicity? Like a plum blossoming in spring with snow; what is she like in purity? Like a chrysanthemum in autumn with thin frost. What is her quiet like? Like a pine growing in a quiet valley; what is her beauty like? Like the colorful haze reflected in the clear pond. What is her elegance like? Like a dragon wandering in a curved pond; what is her eye expression like? Like the bright moonlight shining on the cold river. Her beauty makes Xi Shi and Wang Zhaojun ashamed.&lt;br /&gt;
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--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 07:01, 7 April 2021 (UTC)&lt;br /&gt;
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Mrs. Qin ordered servant girls to well watch the fighting of the cats.&lt;br /&gt;
Precious Jade was in a trance as soon as he closed his eyes. In his dream, he followed a person who was like Mrs. Qin to a place. He saw walls of jasper and pillars and balustrades of ruby as well as green trees and clear streams. There were no human beings and even no floating dust. Precious Jade was happy in the dream. He thought that this place was interesting and he would like to live there for life time although abandoning his home, which was better than being beaten by his parents. When he was woolgathering, he suddenly heard someone singing behind the mountains.&lt;br /&gt;
The lyrics was that “spring dreams disappear with the clouds and flying flowers go with the current; sending a message to children: why seeking worries?”&lt;br /&gt;
Precious Jade recognized that voice was from a woman. The singing did not fade and a beauty showed up who had a slender and graceful body, different from normal people. &lt;br /&gt;
There was an ode to prove it: She has just left the dense willow forest and come out of the fragrant flower house. Wherever she has been, the birds have flown from the trees because of her beauty. Although she has not yet arrived, her figure has already crossed the corridor. Her sleeves are just unfolded, and the fragrance of musk orchids is smelled; As the clothes of lotus flower fluttering and moving, then the ring’s tinkling is heard. Her peach-like face shows charming dimples, and her thick cloud-like hair is pulled into a green mountain-like bun. Her lips are slightly open, as red as a cherry, and her teeth are fragrant, as bright as pomegranate seeds. The slender waist is very attractive, and the body is light and airy. The pearl and jade on the head, the forehead is covered with a delightful goose yellow silk. She is hidden among the flowers, and she is pleasing whether she is angry or happy. She lingers in the lotus pond, floating as if to fly away. Smiling with a long and curved brow, she wants to say something but has no words. The lotus steps just move, want to stop but then go forward. I envy the beauty's good qualities, as clear as ice and as moist as jade. I admire her gorgeous clothes with their shiny patterns. I adore her beautiful face, like spices made of jade; I praise her grace, like a free phoenix flying, a dragon soaring. What is she like in her simplicity? Like a plum blossoming in spring with snow; What is she like in purity? Like a chrysanthemum in autumn with thin frost. What is her quiet like? Like a pine growing in a quiet valley; What is her beauty like? Like the colorful haze reflected in the clear pond. What is her elegance like? Like a dragon wandering in a curved pond; What is her eye expression like? Like the bright moonlight shining on the cold river. Her beauty makes Xi Shi and Wang Zhaojun ashamed.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 14:12, 24 April 2021 (UTC)&lt;br /&gt;
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=Péng Jiāyù 彭佳钰=&lt;br /&gt;
...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！&lt;br /&gt;
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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？”&lt;br /&gt;
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警幻仙姑 = Fairy Disenchantment&lt;br /&gt;
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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：&lt;br /&gt;
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假作真时真亦假，无为有处有还无。&lt;br /&gt;
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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：&lt;br /&gt;
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厚地高天，堪叹古今情不尽；痴男怨女，可怜风月债难酬。&lt;br /&gt;
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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。...&lt;br /&gt;
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Wonderfully, where was this wonder born, whence did she come? Verily she has no peer in fairyland, no equal in the purple courts of heaven. Who can she be, this beauty?&lt;br /&gt;
Overjoyed by the apparition of this fairy, Precious Jade made haste to greet her with a bow. “Sister Fairy,” he begged with a smile, “do tell me where you are from and whither you are going. I have lost my way. May I beg you to pick me up?”&lt;br /&gt;
 &lt;br /&gt;
“My home is above the Sphere of Parting Sorrow in the Sea of Brimming Grief,” she answered with a smile. “I am Fairy Disenchantment from the Grotto of Emanating Fragrance on the Mountain of Expanding Spring in the Illusory Land of Great Void. I preside over romances and unrequited love on earth, the grief of women and the passion of men in the mundane world. The reincarnations of some former lovers have recently gathered here, and so I have come to look for a chance to mete out love and longing. It is no accident that we have met. “My realm is not far from here. All I can offer you is a cup of fairy tea plucked by my own hands, a pitcher of fine wine of my own brewing, some accomplished singers and dancers, and twelve new fairy songs called ‘A Dream of Red Mansions.’ But won’t you come with me?”&lt;br /&gt;
 &lt;br /&gt;
Forgetting Keqing in his delight, Precious Jade followed Fairy Disenchantment to a stone archway inscribed: Illusory Land of Great Void. On either pillar was this couplet:&lt;br /&gt;
 &lt;br /&gt;
When false is taken for true, true becomes false; If non-being turns into being, being becomes non-being.&lt;br /&gt;
 &lt;br /&gt;
Beyond this archway was a palace gateway with the inscription in large characters: Sea of Grief and Heaven of Love. The bold couplet flanking this read:&lt;br /&gt;
 &lt;br /&gt;
Firm as earth and lofty as heaven, passion from time immemorial knows no end; Pity silly lads and plaintive maids hard put to it to requite debts of breeze and moonlight.&lt;br /&gt;
 &lt;br /&gt;
“Well, well,” thought Precious Jade, “I wonder what’s meant by ‘passion from time immemorial’ and ‘debts of breeze and moonlight’. From now on, I’d like to have a taste of these things.” Little did he know that by thinking in this way he had summoned an evil spirit into his inmost heart.&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 14:40, 5 April 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
Precious Jade made haste to greet her with a bow. &lt;br /&gt;
→Precious Jade Merchant made haste to greet her with a bow&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 06:04, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
...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：&lt;br /&gt;
“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：&lt;br /&gt;
&lt;br /&gt;
春恨秋悲皆自惹，花容月貌为谁妍。&lt;br /&gt;
&lt;br /&gt;
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。”&lt;br /&gt;
&lt;br /&gt;
…and with speedy step he followed in the track of the fairy， and entered two rows of doors when he perceived that the Lateral Halls were， on both sides， full of tablets and scrolls， the number of which he could not in one moment ascertain. He however discriminated in numerous places the inscriptions： The Board of Lustful Love； the Board of contracted grudges； The Board of Matutinal sobs； the Board of nocturnal tears； the Board of vernal affections； and the Board of autumnal anguish.&lt;br /&gt;
&lt;br /&gt;
After he had perused these inscriptions， he felt impelled to turn round and address the Fairy. &amp;quot;May I venture to trouble my Fairy，&amp;quot; he said， &amp;quot;to take me along for a turn into the interior of each of these Boards？ May I be allowed， I wonder， to do so？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Inside each of these Boards，&amp;quot; explained the Fairy， &amp;quot;are accumulated the registers with the records of all women of the whole world； of those who have passed away， as well as of those who have not as yet come into it， and you， with your mortal eyes and human body， could not possibly be allowed to know anything in anticipation.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
But would Pao-yue， upon hearing these words， submit to this decree？ He went on to implore her permission again and again， until the Fairy casting her eye upon the tablet of the board in front of her observed， &amp;quot;Well， all right！ you may go into this board and reap some transient pleasure.&amp;quot;&lt;br /&gt;
Pao-yue was indescribably joyous， and， as he raised his head， he perceived that the text on the tablet consisted of the three characters： the Board of Ill-fated lives； and that on each side was a scroll with the inscription：&lt;br /&gt;
&lt;br /&gt;
Upon one's self are mainly brought reGREts in spring and autumn gloom； A face， flowerlike may be and moonlike too； but beauty all for whom？&lt;br /&gt;
&lt;br /&gt;
Upon perusal of the scroll Pao-yue was， at once， the more stirred with admiration； and， as he crossed the door， and reached the interior， the only things that struck his eye were about ten large presses， the whole number of which were sealed with paper slips； on every one of these slips， he perceived that there were phrases peculiar to each province.&lt;br /&gt;
&lt;br /&gt;
Pao-yue was in his mind merely bent upon discerning， from the rest， the slip referring to his own native village， when he espied， on the other side， a slip with the large characters： &amp;quot;the Principal Record of the Twelve Maidens of Chin Ling.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;What is the meaning，&amp;quot; therefore inquired Pao-yue， &amp;quot;of the Principal Record of the Twelve Maidens of Chin Ling？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;As this is the record，&amp;quot; explained the Fairy， &amp;quot;of the most excellent and prominent girls in your honourable province， it is， for this reason， called the Principal Record.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;I've often heard people say，&amp;quot; observed Pao-yue， &amp;quot;that Chin Ling is of vast extent； and how can there only be twelve maidens in it！ why， at present， in our own family alone， there are more or less several hundreds of young girls！&amp;quot;&lt;br /&gt;
&lt;br /&gt;
the Fairy gave a faint smile. &amp;quot;Through there be，&amp;quot; she rejoined， &amp;quot;so large a number of girls in your honourable province， those only of any note have been selected and entered in this record. The two presses， on the two sides， contain those who are second best； while， for all who remain， as they are of the ordinary run， there are， consequently， no registers to make any entry of them in.&amp;quot;&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 09:42, 5 April 2021 (UTC)&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
entered two rows of doors → entered the second door&lt;br /&gt;
&lt;br /&gt;
in numerous places → in several places&lt;br /&gt;
&lt;br /&gt;
The Board of Lustful Love → The Department of Infatuation&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 06:23, 7 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
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：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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：&lt;br /&gt;
&lt;br /&gt;
枉自温柔和顺，空云似桂如兰；堪羡优伶有福，谁知公子无缘。&lt;br /&gt;
&lt;br /&gt;
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：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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：&lt;br /&gt;
&lt;br /&gt;
可叹停机德，谁怜咏絮才；玉带林中挂，金簪雪里埋。&lt;br /&gt;
&lt;br /&gt;
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：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
Precious Jade took a look at the first cabinet below. It read “Twelve Beauties of Deputy Register in Gold Mausoleum”. On another cabinet was written &amp;quot;Twelve Beauties of a Second Deputy Register in Gold Mausoleum&amp;quot;. Precious Jade then reached out his hand and opened the door of this cabinet. He took out a booklet and opened it, only to see no figures or landscape painted on the front page, just ink painting hachuring, dark clouds and mist full of paper. There were several lines written behind it, which read:&lt;br /&gt;
It is hard to see the moon emerge after the storm; clouds are also easy to dissolve. Heart is high, but from a humble origin. Her cleverness attracts other’s resentment. Her life is short only because there is too much gossip about her. Her death makes affectionate childe worry in vain.&lt;br /&gt;
&lt;br /&gt;
Precious Jade looked at it and saw a bunch of flowers and a tattered piece of mat painted behind it. There were also some words, which read:&lt;br /&gt;
In vain to treat Precious Jade with a gentle and submissive attitude, as white as osmanthus and orchid. Her talent is worthy of admiration and envy, but there is no fate between childe and her.&lt;br /&gt;
&lt;br /&gt;
Precious Jade was puzzled, then threw it down, and opened the door of the cabinet which contained the Deputy Register. He took out a booklet and opened it, seeing a picture of a branch of osmanthus, and a pond below, where the water and mud dried up with withered lotus. It was written behind:&lt;br /&gt;
The root and the stem of the lotus are fragrant. All the experiences in her life are very regrettable. Since the lonely trees grow in two places, her life has been gradually going to end.&lt;br /&gt;
&lt;br /&gt;
Precious Jade was confused again, and took the Major Register to have a look. On the first page were painted two dead trees, from which hung a girdle of jade. There was also a pile of snow, with a gold hairpin in the snow. There were also four lines: &lt;br /&gt;
The jewel in the casket bides till one shall come to buy.&lt;br /&gt;
The jade pin in the drawer hides, waiting its time to fly.&lt;br /&gt;
&lt;br /&gt;
Precious Jade was still confused. When he wanted to ask, he knew that the fairy won’t leak the secret, so he was about to put it down. However, he couldn’t bear to leave it alone. When he looked backward, he saw a bow hanging there with a citron. There's also a lyric:&lt;br /&gt;
Living in the palace for more than twenty years, she has a new understanding of the joys and sorrows of the human world. It seems that her life in the palace is as red as a pomegranate blossom. None of her three sisters could compare with her in splendor and wealth. But she died between the year of the Tiger and the year of the Rabbit.&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 12:41, 6 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Precious Jade took a look at the first cabinet below. It read “Twelve Beauties of Deputy Register in Gold Mausoleum”. On another cabinet was written &amp;quot;Twelve Beauties of a Second Deputy Register in Gold Mausoleum&amp;quot;. Precious Jade then reached out his hand and opened the door of this cabinet. He took out a booklet and opened it, only to see no figures or landscape painted on the front page, just ink painting hachuring, dark clouds and mist full of paper. There were several lines written behind it, which read:&lt;br /&gt;
It is hard to see the moon emerge after the storm; clouds are also easy to dissolve. Heart is high, but from a humble origin. Her cleverness attracts other’s resentment. Her life is short only because there is too much gossip about her. Her death makes affectionate childe worry in vain.&lt;br /&gt;
&lt;br /&gt;
Precious Jade looked at it and saw a bunch of flowers and a tattered piece of mat painted behind it. There were also some words, which read:&lt;br /&gt;
In vain to treat Precious Jade with a gentle and submissive attitude, as white as osmanthus and orchid. Her talent is worthy of admiration and envy, but there is no fate between childe and her.&lt;br /&gt;
&lt;br /&gt;
Precious Jade was puzzled, then threw it down, and opened the door of the cabinet which contained the Deputy Register. He took out a booklet and opened it, seeing a picture of a branch of osmanthus, and a pond below, where the water and mud dried up with withered lotus. It was written behind:&lt;br /&gt;
The root and the stem of the lotus are fragrant. All the experiences in her life are very regretful. Since the lonely trees grow in two places, her life has been gradually going to an ending.&lt;br /&gt;
&lt;br /&gt;
Precious Jade was confused again, and took the Major Register to have a look. On the first page were painted two dead trees, from which hung a girdle of jade. There was also a pile of snow, with a gold hairpin in the snow. There were also four lines: &lt;br /&gt;
The jewel in the casket bides till one shall come to buy.&lt;br /&gt;
The jade pin in the drawer hides, waiting its time to fly.&lt;br /&gt;
&lt;br /&gt;
Precious Jade was still confused. When he was about to ask, he knew that the fairy won’t leak the secret, so he was about to put it down. However, he couldn’t bear to leave it alone. When he looked backward, he saw a bow hanging there with a citron. There's also a lyric:&lt;br /&gt;
Living in the palace for more than twenty years, she has a new understanding of the joys and sorrows of the human world. It seems that her life in the palace is as red as a pomegranate blossom. None of her three sisters could compare with her in splendor and wealth. But she died between the year of the Tiger and the year of the Rabbit.&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 12:56, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
也有四句写云：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
后面又画几缕飞云，一湾逝水。其词曰：&lt;br /&gt;
&lt;br /&gt;
富贵又何为，襁褓之间父母违；展眼吊斜辉，湘江水逝楚云飞。&lt;br /&gt;
&lt;br /&gt;
后面又画着一块美玉，落在泥污之中。其断语云：&lt;br /&gt;
&lt;br /&gt;
欲洁何曾洁，云空未必空，可怜金玉质，终陷淖泥中。&lt;br /&gt;
&lt;br /&gt;
后面忽画一恶狼，追扑一美女，欲啖之意。其书云：&lt;br /&gt;
&lt;br /&gt;
子系中山狼，得志便猖狂；金闺花柳质，一载赴黄粱。&lt;br /&gt;
&lt;br /&gt;
后面便是一所古庙，里面有一美人，在内看经独坐。其判云：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
后面便是一片冰山，上有一只雌凤。其判云：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
On the next page was a picture of two people flying a kite. There was a large boat where sat a girl on the sea, and she is weeping, covering her face with her hands. With this were also lines:&lt;br /&gt;
So talented and high-minded,&lt;br /&gt;
She is born too late for luck to come her way.&lt;br /&gt;
Through tears she watches the stream &lt;br /&gt;
On the Clear and Bright Day;&lt;br /&gt;
A thousand li the east wind blows,&lt;br /&gt;
But her home in her dreams is far away.&lt;br /&gt;
Next came a painting of drifting clouds and flowing water with the legend:&lt;br /&gt;
Nought avail her rank and riches,&lt;br /&gt;
While yet in swaddling clothes an orphan lone;&lt;br /&gt;
In a flash she mourns the setting sun,&lt;br /&gt;
The river Xiang runs dry, the clouds over Chu have flown.&lt;br /&gt;
Next was depicted a fine piece of jade dropped in the mud, with the verse:&lt;br /&gt;
Chastity is her wish,&lt;br /&gt;
Seclusion her desire;&lt;br /&gt;
Alas, though fine as gold or jade &lt;br /&gt;
She sinks at last in the mire.&lt;br /&gt;
There followed a sketchy of a savage wolf pursuing a lovely girl to devour her. The verdict read:&lt;br /&gt;
For husband she will have a mountain wolf,&lt;br /&gt;
His object gained he ruthlessly berates her;&lt;br /&gt;
Fair bloom, sweet willow in a golden bower,&lt;br /&gt;
Too soon a rude awakening awaits her.&lt;br /&gt;
Next was depicted a seated girl reading a sutra alone in an old temple. This had the legend:&lt;br /&gt;
She sees through the transience of spring,&lt;br /&gt;
Dark Buddhist robes replace her garments fine;&lt;br /&gt;
Pity this child of a wealthy noble house &lt;br /&gt;
Who now sleeps alone by the dimly lit old shrine.&lt;br /&gt;
Next came a female phoenix perched on an iceberg, with the verdict:&lt;br /&gt;
This bird appears when the world falls on evil times;&lt;br /&gt;
None but admires her talents and her skill;&lt;br /&gt;
First she complies, then commands, then is dismissed,&lt;br /&gt;
Departing in tears to Jinling more wretched still.--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 12:52, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
On the next page was a picture of two people flying a kite. There was a large boat where sat a girl on the sea, and she was weeping, covering her face with her hands. With this were also lines: &lt;br /&gt;
So talented and high-minded,&lt;br /&gt;
She is born too late for luck to come her way.&lt;br /&gt;
Through tears she watches the stream &lt;br /&gt;
On the Clear and Bright Day;&lt;br /&gt;
A thousand li the east wind blows,&lt;br /&gt;
But her home in her dreams is far away.&lt;br /&gt;
Next came a painting of drifting clouds and flowing water with the legend:&lt;br /&gt;
Nought avail her rank and riches,&lt;br /&gt;
While yet in swaddling clothes an orphan lone;&lt;br /&gt;
In a flash she mourns the setting sun,&lt;br /&gt;
The river Xiang runs dry, the clouds over Chu have flown.&lt;br /&gt;
Next depicted a fine piece of jade dropped in the mud, with the verse:&lt;br /&gt;
Chastity is her wish,&lt;br /&gt;
Seclusion her desire;&lt;br /&gt;
Alas, though fine as gold or jade &lt;br /&gt;
She sinks at last in the mire.&lt;br /&gt;
There followed a sketchy of a savage wolf pursuing a lovely girl to devour her. The verdict read:&lt;br /&gt;
For husband she will have a mountain wolf,&lt;br /&gt;
His object gained he ruthlessly berates her;&lt;br /&gt;
Fair bloom, sweet willow in a golden bower,&lt;br /&gt;
Too soon a rude awakening awaits her.&lt;br /&gt;
Next was depicted a seated girl reading a sutra alone in an old temple. This had the legend:&lt;br /&gt;
She sees through the transience of spring,&lt;br /&gt;
Dark Buddhist robes replace her garments fine;&lt;br /&gt;
Pity this child of a wealthy noble house &lt;br /&gt;
Who now sleeps alone by the dimly lit old shrine.&lt;br /&gt;
Next came a female phoenix perched on an iceberg, with the verdict:&lt;br /&gt;
This bird appears when the world falls on evil times;&lt;br /&gt;
None but admires her talents and her skill;&lt;br /&gt;
First she complies, then commands, then is dismissed,&lt;br /&gt;
Departing in tears to Jinling more wretched still.&lt;br /&gt;
&lt;br /&gt;
--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 12:28, 6 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
后面又是一座荒村野店，有一美人在那里纺绩。其判云：&lt;br /&gt;
&lt;br /&gt;
势败休云贵，家亡莫论亲；偶因济刘氏，巧得遇恩人。&lt;br /&gt;
&lt;br /&gt;
诗后又画一盆茂兰，旁有一位凤冠霞帔的美人。也有判云：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
诗后又画一座高楼，上有一美人悬梁自尽。其判云：&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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！”&lt;br /&gt;
&lt;br /&gt;
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。...&lt;br /&gt;
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There was an abandoned village and a dreary shop behind, where there was a beauty knitting. A poem said:&lt;br /&gt;
&lt;br /&gt;
When you fail, don't talk about being rich; when your family is broken, don't talk about your relative. I coincidentally meet my saver because I once helped Ms. Liu.&lt;br /&gt;
&lt;br /&gt;
Behind the poem there a pot of Orchids was drawn, where there was a beauty in a phoenix-crown and cloudy mantle. A poem said:&lt;br /&gt;
&lt;br /&gt;
After the spring passes and the peach and the plum wither, who ever can like Orchids? Though you are clear and pure, like the icy water, others still envy you; others will judge and laugh at you without cost.&lt;br /&gt;
&lt;br /&gt;
Behind there was a high building, where there was a beauty hanging on the beam, committing suicide. The verse went:&lt;br /&gt;
&lt;br /&gt;
Your love is as high as heaven, your love is ocean-wide, you wear your love on your body; What time love will encounter love, license must rise wanton. Don't say that all the untalented men are from the family of Rong, the provocation is really initiated by Ning.&lt;br /&gt;
&lt;br /&gt;
Precious Jade wanted to read more about the verses when the Fairy perceiving that his intellect was eminent and bright, and his natural talents quick-witted. She worried that the decrees of heaven will be divulged, so she closed the book and said to him, &amp;quot;Come along with me and see some wonderful scenery. There's no need to stay here and dwell on the meaningless affairs!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Dazed, Precious Jade left the book behind and followed the Fairy Disenchantment to the back.He saw carnation portieres, and embroidered curtains, ornamented pillars, and carved eaves. The vermilion apartments glistening with splendour, the floors garnished with gold, of the snow reflecting lustrous windows, the palatial mansions made of gems, all these were beyond description. He also saw fairyland flowers, beautiful and fragrant, and extraordinary vegetation, full of perfume. What a good place there was!  He again heard the Fairy Disenchantment said, smiling, &amp;quot;Come out at once and greet the honoured guest!&amp;quot; These words were scarcely completed, when he saw fairies walk out of the house. All of them were with their dangling lotus sleeves and fluttering feather habiliments, as lovely as spring flowers, and as charming as the autumn moon.&lt;br /&gt;
--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 15:07, 2 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
There was an abandoned village and a dreary shop behind, where there was a beauty knitting. A poem said:&lt;br /&gt;
&lt;br /&gt;
When you fail, don't talk about being rich; when your family is broken, don't talk about your relatives. I coincidentally meet my saver for I once helping Ms. Liu.&lt;br /&gt;
&lt;br /&gt;
Behind the poem was drawn a pot of Orchids, where there was a beauty in a phoenix-crown and cloudy mantle. A poem said:&lt;br /&gt;
&lt;br /&gt;
After the spring passes and the peach and the plum wither, who ever can like Orchids? Though you are clear and pure, like the icy water, others still envy you; others will judge and laugh at you without cost.&lt;br /&gt;
&lt;br /&gt;
Behind there was a high building, where there was a beauty hanging on the beam, committing suicide. The verse went:&lt;br /&gt;
&lt;br /&gt;
Your love is as high as heaven, your love is ocean-wide, you wear your love on your body; What time love will encounter love, license must rise wanton. Don't say that all the untalented men are from the family of Rong, the provocation is really initiated by Ning.&lt;br /&gt;
&lt;br /&gt;
When Precious Jade wanted to read more about the verses,the Fairy have perceived that his intellect was eminent and bright, and his natural talents quick-witted.And She worried that the decrees of heaven will be divulged, so she closed the book and said to him, &amp;quot;Come along with me and see some wonderful scenery. There's no need to stay here and dwell on the meaningless affairs!&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Dazed, Precious Jade left the book behind and followed the Fairy Disenchantment to the back.He saw carnation portieres, and embroidered curtains, ornamented pillars, and carved eaves. The vermilion apartments glistening with splendour, the floors garnished with gold, of the snow reflecting lustrous windows, the palatial mansions made of gems, all these were beyond description. He also saw fairyland flowers, beautiful and fragrant, and extraordinary vegetation, full of perfume. What a good place there was!  He again heard the Fairy Disenchantment said, smiling, &amp;quot;Come out at once and greet the honoured guest!&amp;quot; These words were scarcely completed, when he saw fairies walk out of the house. All of them were with their dangling lotus sleeves and fluttering feather habiliments, as lovely as spring flowers, and as charming as the autumn moon.--[[User:Teng Bixia|Teng Bixia]]--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 09:20, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
...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？”&lt;br /&gt;
&lt;br /&gt;
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。”&lt;br /&gt;
&lt;br /&gt;
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。...&lt;br /&gt;
On seeing Precious Jade, they all complained to  the Fairy Disenchantment :&amp;quot; we do not know who the distinguished guest is, so we rush to greet!Beacuse you told us that the ghost of Sister Red Bead must come here at this time today, we have been waiting for a long time. But why do you lead this filth to pollute our  pure daughter's realm?&amp;quot;Hearing this,  Precious Jade was too frightehed to retreat, just to find himslef so filthy. Quickly holding Precious Jade`s hands,  the Fairy Disenchantment said to other sisters with smile:&amp;quot; you do not know the consequence: I could have intended to meet Red Bead from the mansion of Ning ,but,along the way，I happen to encounter the ghosts of Duke Ning and the Duke Rong who enjoin me:&amp;quot;Since the establishment of the dynasty, my family’s fame and wealth have been passed down for a hundred years but the luck is exhausted and irretrievable. Athough we have a number of grandsons in our family, no one can inherit the family business. Only Precious Jade, the eldest grandson who has perverse and absurd personality, is possible to inherit the family business. Helplessly, my family`s luck will come to an end, and I am afraid that no one can rule into yhe right. Fortunately, you comes by chance, we hope you may first warn him of his stupidity and obstinacy, or may make him jump out of his charming circle and take the right path, which is also we brothers` luck.’This is how it exhorts me, so I show kindness and lead him to here. Firstly,I let him know the lifelong books of the third-class women in his family, but he have not yet realized it. Therefore, he is introduced to this place  and  will experience the illusion of sensuality. I hope him to realize the future and come to know it.After that, she took Precious Jade into the room. Smelling a faint fragrance and having no idea about the smell, Precious Jade could not stop asking. The Fairy Disenchantment sneered and said: &amp;quot;This incense is nothing in the world, how can you know! This is the essence of the new-born flowers of various famous mountains and scenic realms, and is made with the oil of various treasure trees.It is called ‘Fragrant Marrow of the Group. Hearing it, Precious Jade is so much admiring.As  Everyone is seated, servants bring tea which smells fragrant, delicate and tastes delicious, so he asked what the name is... &amp;quot;--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 14:55, 6 April 2021 (UTC)&lt;br /&gt;
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&lt;br /&gt;
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On seeing Precious Jade, they all complained to the Fairy Disenchantment:&amp;quot; we do not know who the distinguished guest is, so we rush to greet! Because you have told us that the ghost of sister Jiang Zhu must come here at this time today, we have been waiting for a long time. But why do you lead this filth to pollute our pure daughter's realm?&amp;quot; Hearing this,  Precious Jade was too frightened to retreat, just to find himself so filthy. Quickly holding Precious Jade`s hands, the Fairy Disenchantment said to other sisters with a smile:&amp;quot; you do not know the reason: I could have intended to meet Jiang Zhu from the mansion of Ning, but, along the way，I happen to encounter the ghosts of Duke of Ningguo and the Duke of Rongguo who enjoin me: &amp;quot;Since the establishment of the dynasty, my family’s fame and wealth have been passed down for a hundred years but the luck is exhausted and irretrievable. Although we have a number of grandsons in our family, no one can inherit the family business. Only Precious Jade, the eldest grandson who has a perverse and absurd personality, is possible to inherit the family business. Helplessly, my family`s luck will come to an end, and I am afraid that no one can rule into the right. Fortunately, you come by chance, we hope you may first warn him of his stupidity and obstinacy or may make him jump out of his charming circle and take the right path, which is also we brothers` luck.’This is how it exhorts me, so I show kindness and lead him to here. Firstly, I let him know the lifelong books of the third-class women in his family, but he has not yet realized it. Therefore, he is introduced to this place and will experience the illusion of sensuality. I hope that he realizes it in the future and comes to know it. &amp;quot;&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:47, 6 April 2021 (UTC)&lt;br /&gt;
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=Wáng Chǔyí 王楚仪=&lt;br /&gt;
...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’。”&lt;br /&gt;
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：&lt;br /&gt;
幽微灵秀地，无可奈何天。&lt;br /&gt;
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：&lt;br /&gt;
琼浆满泛玻璃盏，玉液浓斟琥珀杯。&lt;br /&gt;
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。&lt;br /&gt;
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：&lt;br /&gt;
开辟鸿蒙……&lt;br /&gt;
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：&lt;br /&gt;
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&lt;br /&gt;
“This tea grows in the Grotto of Emanating Fragrance on the Mountain of Expanding Spring,” the fairy Disenchantment told him. “Infused with the night dew from fairy flowers and spiritual leaves, its name is Thousand Red Flowers in One Cavern.” Hearing this Baoyu nodded in appreciation. He saw jasper lutes, rare bronze tripods, ancient paintings, new volumes of verse and nothing was lacking. But what delighted him most was the rouge by the window and the spilt powder left from a lady’s toilet. On the wall hung this couplet: Spiritual, secluded retreat,&lt;br /&gt;
Celestial world of sweet longing.&lt;br /&gt;
Lost in admiration of everything about him, he asked the fairies’ names. They were introduced by their different appellations as Fairy of Amorous Dreams, Great Mistress of Passion, Golden Maid Bringing Grief, and Saint of Transmitted Sorrow.&lt;br /&gt;
Presently little maids brought in tables and chairs and set out wine and refreshments. Verily:&lt;br /&gt;
Glass vessels overflowed with nectar and amber cups brimmed with ambrosia.&lt;br /&gt;
No need to dwell on the sumptuousness of that feast. He could not resist inquiring what gave the wine its remarkably pure bouquet.“This wine is made from the stamens of a hundred flowers and the sap of ten thousand trees mixed with the marrow of unicorns and fermented with phoenix milk,” the fairy Disenchantment told him. &amp;quot;We call it Ten Thousand Beauties in One Cup.”&lt;br /&gt;
As Baoyu sipped it, twelve dancing girls stepped forward to ask what they should perform. “The twelve new songs called ‘A Dream of Red Mansions,” ordered the fairy Disenchantment.&lt;br /&gt;
The dancers assented. Lightly striking their sandalwood castanets and softly plucking their silver lyres, they began:&lt;br /&gt;
At the dawn of creation……    &lt;br /&gt;
But the goddess interrupted them to tell Baoyu, “This is not like your romantic dramas in the earthly world in which there are always the fixed parts of scholars, girls, warriors, old men and clowns, and the set nine tunes of the south or north. These songs of ours lament one person or event in an impromptu fashion and are easily set to wind or stringed accompaniments.&lt;br /&gt;
But no outsider can appreciate their subtle qualities, and I doubt whether you will really understand their meaning. Unless you first read the text, they will seem to you as tasteless as chewed wax.”With that, she turned and ordered a maid to bring the words of the “Dream of Red Mansions” songs. She handed the manuscript to Baoyu, who followed the text as he listened.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 10:01, 5 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
“This tea grows in the Grotto of Emanating Fragrance on the Mountain of Expanding Spring,” the fairy Disenchantment told him. “Infused with the night dew from fairy flowers and spiritual leaves, its name is Thousand Red Flowers in One Cavern.” Hearing this, Precious Jade nodded in appreciation. He saw jasper lutes, rare bronze tripods, ancient paintings, new volumes of verse and nothing was lacking. But what delighted him most was the rouge by the window and the spilt powder left from a lady’s toilet. On the wall hung this couplet: Spiritual, secluded retreat,&lt;br /&gt;
Celestial world of sweet longing.&lt;br /&gt;
Lost in admiration of everything about him, he asked the fairies’ names. They were introduced by their different appellations as Fairy of Amorous Dreams, Great Mistress of Passion, Golden Maid Bringing Grief, and Saint of Transmitted Sorrow.&lt;br /&gt;
Presently little maids brought in tables and chairs and set out wine and refreshments. Verily:&lt;br /&gt;
Glass vessels overflowed with nectar and amber cups brimmed with ambrosia.&lt;br /&gt;
No need to dwell on the sumptuousness of that feast. He could not resist inquiring what gave the wine its remarkably pure bouquet.“This wine is made from the stamens of a hundred flowers and the sap of ten thousand trees mixed with the marrow of unicorns and fermented with phoenix milk,” the fairy Disenchantment told him. &amp;quot;We call it Ten Thousand Beauties in One Cup.”&lt;br /&gt;
As Precious Jade sipped it, twelve dancing girls stepped forward to ask what they should perform. “The twelve new songs called ‘A Dream of Red Mansions,” ordered the fairy Disenchantment.&lt;br /&gt;
The dancers assented. Lightly striking their sandalwood castanets and softly plucking their silver lyres, they began:&lt;br /&gt;
At the dawn of creation……    &lt;br /&gt;
But the goddess interrupted them to tell Baoyu, “This is not like your romantic dramas in the earthly world in which there are always the fixed parts of scholars, girls, warriors, old men and clowns, and the set nine tunes of the south or north. These songs of ours lament one person or event in an impromptu fashion and are easily set to wind or stringed accompaniments.&lt;br /&gt;
But no outsider can appreciate their subtle qualities, and I doubt whether you will really understand their meaning. Unless you first read the text, they will seem to you as tasteless as chewed wax.”With that, she turned and ordered a maid to bring the words of the “A Dream of Red Mansions” songs. She handed the manuscript to Precious Jade, who followed the text as he listened.&lt;br /&gt;
—[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 06:50, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
“This tea grows in the Grotto of Emanating Fragrance on the Mountain of Expanding Spring,” the fairy Disenchantment told him. “Infused with the night dew from fairy flowers and spiritual leaves, its name is Thousand Red Flowers in One Cavern.” Hearing this Precious Jade nodded in appreciation. He--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 17:00, 27 April 2021 (UTC) saw jasper lutes, rare bronze tripods, ancient paintings, new volumes of verse and nothing was lacking. But what delighted him most was the rouge by the window and the spilt powder left from a lady’s toilet. On the wall hung this couplet: Spiritual, secluded retreat,&lt;br /&gt;
Celestial world of sweet longing.&lt;br /&gt;
Lost in admiration of everything about him, he asked the fairies’ names. They were introduced by their different appellations as Fairy of Amorous Dreams, Great Mistress of Passion, Golden Maid Bringing Grief, and Saint of Transmitted Sorrow.&lt;br /&gt;
Presently little maids brought in tables and chairs and set out wine and refreshments. Verily:&lt;br /&gt;
Glass vessels overflowed with nectar and amber cups brimmed with ambrosia.&lt;br /&gt;
No need to dwell on the sumptuousness of that feast. He could not resist inquiring what gave the wine its remarkably pure bouquet.“This wine is made from the stamens of a hundred flowers and the sap of ten thousand trees mixed with the marrow of unicorns and fermented with phoenix milk,” the fairy Disenchantment told him. &amp;quot;We call it Ten Thousand Beauties in One Cup.”&lt;br /&gt;
As Precious Jade sipped it, twelve dancing girls stepped forward to ask what they should perform. “The twelve new songs called ‘A Dream of Red Mansions,” ordered the fairy Disenchantment.&lt;br /&gt;
The dancers assented. Lightly striking their sandalwood castanets and softly plucking their silver lyres, they began:&lt;br /&gt;
At the dawn of creation……    &lt;br /&gt;
But the goddess interrupted them to tell Precious Jade, “This is not like your romantic dramas in the earthly world in which there are always the fixed parts of scholars, girls, warriors, old men and clowns, and the set nine tunes of the south or north. These songs of ours lament one person or event in an impromptu fashion and are easily set to wind or stringed accompaniments.&lt;br /&gt;
But no outsider can appreciate their subtle qualities, and I doubt whether you will really understand their meaning. Unless you first read the text, they will seem to you as tasteless as chewed wax.”With that, she turned and ordered a maid to bring the words of the “Dream of Red Mansions” songs. She handed the manuscript to Precious Jade, who followed the text as he listened.&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
〔红楼梦引子〕&lt;br /&gt;
&lt;br /&gt;
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”。&lt;br /&gt;
&lt;br /&gt;
〔终身误〕&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
〔枉凝眉〕&lt;br /&gt;
&lt;br /&gt;
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！&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
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：&lt;br /&gt;
&lt;br /&gt;
〔恨无常〕&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
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！&lt;br /&gt;
&lt;br /&gt;
〔分骨肉〕&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
[ The Introduction of A Dream in Red Mansions]&lt;br /&gt;
Since the creation of the world, who had been a sincere and faithful Aged-boy? Only the sentimental love feelings heavily annoy! While being the period of sadness, loneliness and unavoidability, I wrote this novel A Dream in Red Mansions. In order to sing my heartfelt poetry, mourning the young’s frenzy loving actions.&lt;br /&gt;
&lt;br /&gt;
[ At The Expense of Whole LIFE]&lt;br /&gt;
All saying that perfect match is the Gold Lock and Precious Jade, but I am always dwelling on the promise with Dark Green Jade in the previous life. Faced with all-believed modest and sober Precious Hairpin, still unable to forget Dark Green Jade who is fairily clever but a loner. Alas, I can not believe the moon will wax and the moon will wane until this time. It can not diminish my deep love with dear Deep Dark Jade though Precious Hairpin was as virtuous as ''Guang Meng''1.&lt;br /&gt;
1 Guang Meng: She was one of the Four Ugly Women in ancient China but she lifted the meal box as high as her brow toward her husband when eating in order to show her reverence to her husband.&lt;br /&gt;
[ Frowning For Nothing]&lt;br /&gt;
One is the beautiful flower growing up in the fairyland, another is the perfect, spotless and fair jade. If we do not have coincident marriage, why am I just bound to meet them? If it is a magical marriage, why the filling love ends up being palaver? One sighed alone but in vain; another dreamed day and night but in vain. One is the moon shadow reflected in the water; another is the flower reflected in the mirror. Think of it: how many tears does she have on earth, how can she afford to make her eyes water from autumn to winter, and from spring to summer?&lt;br /&gt;
Precious Jade listened this song, which is random and groundless, and he did not admire it. But the rhythm and the tone is plaintive, which made him stunned and enchanted.&lt;br /&gt;
[ Hating The Changeability]At the height of honour and splendor, Death comes for her.Open-eyed, she has to leave everything behind; As her gentle soul passes away. So far her home beyond the distant mountains; That in a dream she finds and tells her parents:“Your child has gone now to the Yellow Spring; You must find a retreat before it is too late.”&lt;br /&gt;
[ Separation From Dear Ones] Three thousand li she must sail through wind and rain, Giving up her home and her own flesh and blood. But afraid to distress their declining years with tears, She tells her parents: “Don’t grieve for your child. From of old good luck and bad have been predestined, Partings and reunions are decreed by fate; Although from now on we shall dwell far apart, Let us still live at peace. Don’t worry over your unworthy daughter.”--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 16:02, 1 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
/&lt;br /&gt;
[ The Introduction of A Dream in Red Mansions]&lt;br /&gt;
Since the creation of the world, who had been a sincere and faithful Aged-boy? Only the sentimental love feelings heavily annoy! While being the period of sadness, loneliness and unavoidability, I wrote this novel A Dream in Red Mansions. In order to sing my heartfelt poetry, mourning the young’s frenzy loving actions.&lt;br /&gt;
&lt;br /&gt;
[ At The Expense of Whole LIFE]&lt;br /&gt;
All saying that perfect match is the Gold Lock and Precious Jade, but I am always dwelling on the promise with Dark Green Jade in the previous life. Faced with all-believed modest and sober Precious Hairpin, still unable to forget Dark Green Jade who is fairily clever but a loner. Alas, I can not believe the moon will wax and the moon will wane until this time. It can not diminish my deep love with dear Deep Dark Jade though Precious Hairpin was as virtuous as ''Guang Meng''1.&lt;br /&gt;
1 Guang Meng: She was one of the Four Ugly Women in ancient China but she lifted the meal box as high as her brow toward her husband when eating in order to show her reverence to her husband.&lt;br /&gt;
&lt;br /&gt;
[ Frowning For Nothing]&lt;br /&gt;
One is the beautiful flower growing up in the fairyland, another is the perfect, spotless and fair jade. If we do not have coincident marriage, why am I just bound to meet them? If it is a magical marriage, why the filling love ends up being palaver? One sighed alone but in vain; another dreamed day and night but in vain. One is the moon shadow reflected in the water; another is the flower reflected in the mirror. Think of it: how many tears does she have on earth, how can she afford to make her eyes water from autumn to winter, and from spring to summer?&lt;br /&gt;
Precious Jade listened this song, which is random and groundless, and he did not admire it. But the rhythm and the tone is plaintive, which made him stunned and enchanted.&lt;br /&gt;
&lt;br /&gt;
[ Hating The Changeability]At the height of honour and splendor, Death comes for her.Open-eyed, she has to leave everything behind; As her gentle soul passes away. So far her home beyond the distant mountains; That in a dream she finds and tells her parents:“Your child has gone now to the Yellow Spring; You must find a retreat before it is too late.”&lt;br /&gt;
&lt;br /&gt;
[ Separation From Dear Ones] Three thousand li she must sail through wind and rain, Giving up her home and her own flesh and blood. But afraid to distress their declining years with tears, She tells her parents: “Don’t grieve for your child. From of old good luck and bad have been predestined, Partings and reunions are decreed by fate; Although from now on we shall dwell far apart, Let us still live at peace. Don’t worry over your unworthy daughter.”--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 16:07, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
〔乐中悲〕&lt;br /&gt;
&lt;br /&gt;
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？&lt;br /&gt;
&lt;br /&gt;
〔世难容〕&lt;br /&gt;
&lt;br /&gt;
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？&lt;br /&gt;
&lt;br /&gt;
〔喜冤家〕&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
〔虚花悟〕&lt;br /&gt;
&lt;br /&gt;
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。&lt;br /&gt;
&lt;br /&gt;
〔聪明累〕&lt;br /&gt;
&lt;br /&gt;
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！&lt;br /&gt;
&lt;br /&gt;
SORROW AMIDST JOY&lt;br /&gt;
&lt;br /&gt;
She was still in her cradle when her parents died.&lt;br /&gt;
Although living in luxury who would dote on her?&lt;br /&gt;
Happily she was born too courageous and open-hearted, &lt;br /&gt;
Never to take a love affair to heart.&lt;br /&gt;
Like bright moon and fresh breeze in a hall of jade. &lt;br /&gt;
She was matched with a talented and handsome husband.&lt;br /&gt;
May she live with him for long years.&lt;br /&gt;
To make up for her wretched childhood!&lt;br /&gt;
But over the Gaotang Tower the clouds disperse.&lt;br /&gt;
The river Xiang runs dry.&lt;br /&gt;
This is the common fate of mortal men,&lt;br /&gt;
Useless it is to repine.&lt;br /&gt;
 &lt;br /&gt;
SPURNED BY THE WORLD &lt;br /&gt;
&lt;br /&gt;
By nature fair as an orchid.&lt;br /&gt;
Yet so eccentric that all marvel at her.&lt;br /&gt;
With talents to match an immortal,&lt;br /&gt;
To her, rich food stinks,&lt;br /&gt;
Silken raiment is vulgar and loathsome;&lt;br /&gt;
She knows not that superiority fosters hatred,&lt;br /&gt;
For the world despises too much purity.&lt;br /&gt;
By the dim light of an old shrine she will fade away,&lt;br /&gt;
Her powder and red chamber, her youth and beauty wasted, &lt;br /&gt;
To end, despite herself, defiled on the dusty road,.&lt;br /&gt;
Even as flawless white jade dropped in the mud;&lt;br /&gt;
In vain young scions of noble houses will sigh for her.&lt;br /&gt;
&lt;br /&gt;
UNION OF ENEMIES&lt;br /&gt;
&lt;br /&gt;
A mountain wolf, a savage ruthless beast,&lt;br /&gt;
Mindless of past obligations;&lt;br /&gt;
Gives himself up to pride, luxury and license,&lt;br /&gt;
Holding cheap the charms of a noble family’s daughter.&lt;br /&gt;
Trampling on the precious child of a ducal mansion. &lt;br /&gt;
Alas, in less than a year her sweet soul fades away.&lt;br /&gt;
&lt;br /&gt;
PERCEPTION OF THE TRANSIENCE OF FLOWERS &lt;br /&gt;
&lt;br /&gt;
She will see through the three Springs, and set no store;&lt;br /&gt;
By the red of peach-blossom, the green of willows.&lt;br /&gt;
Stamping out the fire of youthful splendor, &lt;br /&gt;
To find the limpid peace of a clear sky.&lt;br /&gt;
Though the peach runs riot against the sky,&lt;br /&gt;
Though the clouds teem with apricot blossom,&lt;br /&gt;
Who has seen any flower that can win safely through autumn?&lt;br /&gt;
Even now mourners are lamenting by groves of poplars,&lt;br /&gt;
Ghosts are wailing below green maples,&lt;br /&gt;
And the weeds above their graves stretch to the skyline.&lt;br /&gt;
Truly, changes in fortune are the cause of men’s toil,&lt;br /&gt;
Spring blooming and autumn withering the fate of flowers.&lt;br /&gt;
Who can escape the gate of birth, the fate of death?&lt;br /&gt;
Yet in the west, they say, grows the sal tree,&lt;br /&gt;
Which bears the fruit of immortality.&lt;br /&gt;
&lt;br /&gt;
RUINED BY CUNNING&lt;br /&gt;
&lt;br /&gt;
Too much cunning in plotting and scheming &lt;br /&gt;
Is the cause of her own undoing;&lt;br /&gt;
While yet living her heart is broken,&lt;br /&gt;
And after death all her subtlety comes to nothing.&lt;br /&gt;
A rich house, all its members at peace, is ruined at last and scattered.&lt;br /&gt;
In vain her anxious thought for half a lifetime,&lt;br /&gt;
For like a disturbing dream at dead of night,&lt;br /&gt;
Like the thunderous collapse of a great mansion,&lt;br /&gt;
Or the flickering of a lamp that gutters out,&lt;br /&gt;
Mirth is suddenly changed to sorrow.&lt;br /&gt;
Ah, nothing is certain in the world of men.&lt;br /&gt;
&lt;br /&gt;
SORROW AMIDST JOY&lt;br /&gt;
&lt;br /&gt;
She was still in her cradle when her parents died.&lt;br /&gt;
Although living in luxury who would dote on her?&lt;br /&gt;
Happily she was born too courageous and open-hearted, &lt;br /&gt;
Never to take a love affair to heart.&lt;br /&gt;
Like bright moon and fresh breeze in a hall of jade. &lt;br /&gt;
She was matched with a talented and handsome husband.&lt;br /&gt;
May she live with him for long years.&lt;br /&gt;
To make up for her wretched childhood!&lt;br /&gt;
But over the Gaotang Tower the clouds disperse.&lt;br /&gt;
The river Xiang runs dry.&lt;br /&gt;
This is the common fate of mortal men,&lt;br /&gt;
Useless it is to repine.&lt;br /&gt;
 &lt;br /&gt;
SPURNED BY THE WORLD &lt;br /&gt;
&lt;br /&gt;
By nature fair as an orchid.&lt;br /&gt;
Yet so eccentric that all marvel at her.&lt;br /&gt;
With talents to match an immortal,&lt;br /&gt;
To her, rich food stinks,&lt;br /&gt;
Silken raiment is vulgar and loathsome;&lt;br /&gt;
She knows not that superiority fosters hatred,&lt;br /&gt;
For the world despises too much purity.&lt;br /&gt;
By the dim light of an old shrine she will fade away,&lt;br /&gt;
Her powder and red chamber, her youth and beauty wasted, &lt;br /&gt;
To end, despite herself, defiled on the dusty road,.&lt;br /&gt;
Even as flawless white jade dropped in the mud;&lt;br /&gt;
In vain young scions of noble houses will sigh for her.&lt;br /&gt;
&lt;br /&gt;
UNION OF ENEMIES&lt;br /&gt;
&lt;br /&gt;
A mountain wolf, a savage ruthless beast,&lt;br /&gt;
Mindless of past obligations;&lt;br /&gt;
Gives himself up to pride, luxury and license,&lt;br /&gt;
Holding cheap the charms of a noble family’s daughter.&lt;br /&gt;
Trampling on the precious child of a ducal mansion. &lt;br /&gt;
Alas, in less than a year her sweet soul fades away.&lt;br /&gt;
&lt;br /&gt;
PERCEPTION OF THE TRANSIENCE OF FLOWERS &lt;br /&gt;
&lt;br /&gt;
She will see through the three Springs, and set no store;&lt;br /&gt;
By the red of peach-blossom, the green of willows.&lt;br /&gt;
Stamping out the fire of youthful splendor, &lt;br /&gt;
To find the limpid peace of a clear sky.&lt;br /&gt;
Though the peach runs riot against the sky,&lt;br /&gt;
Though the clouds teem with apricot blossom,&lt;br /&gt;
Who has seen any flower that can win safely through autumn?&lt;br /&gt;
Even now mourners are lamenting by groves of poplars,&lt;br /&gt;
Ghosts are wailing below green maples,&lt;br /&gt;
And the weeds above their graves stretch to the skyline.&lt;br /&gt;
Truly, changes in fortune are the cause of men’s toil,&lt;br /&gt;
Spring blooming and autumn withering the fate of flowers.&lt;br /&gt;
Who can escape the gate of birth, the fate of death?&lt;br /&gt;
Yet in the west, they say, grows the sal tree,&lt;br /&gt;
Which bears the fruit of immortality.&lt;br /&gt;
&lt;br /&gt;
RUINED BY CUNNING&lt;br /&gt;
&lt;br /&gt;
Too much cunning in plotting and scheming &lt;br /&gt;
Is the cause of her own undoing;&lt;br /&gt;
While yet living her heart is broken,&lt;br /&gt;
And after death all her subtlety comes to nothing.&lt;br /&gt;
A rich house, all its members at peace, is ruined at last and scattered.&lt;br /&gt;
In vain her anxious thought for half a lifetime,&lt;br /&gt;
For like a disturbing dream at dead of night,&lt;br /&gt;
Like the thunderous collapse of a great mansion,&lt;br /&gt;
Or the flickering of a lamp that gutters out,&lt;br /&gt;
Mirth is suddenly changed to sorrow.&lt;br /&gt;
Ah, nothing is certain in the world of men.&lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 08:56, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
〔留余庆〕&lt;br /&gt;
Thanks To Small Act Of Kindness&lt;br /&gt;
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。&lt;br /&gt;
Thanks to one small act of kindness, she meets by chance a grateful friend;&lt;br /&gt;
Thanks to her mother’s kind behavior.&lt;br /&gt;
Men should rescue the distressed and help the poor,&lt;br /&gt;
Be not like her heartless uncle or treacherous cousin, &lt;br /&gt;
Who for love of money forget their own flesh and blood. &lt;br /&gt;
Truly, rewards and punishments,&lt;br /&gt;
Are meted out by Heaven.&lt;br /&gt;
&lt;br /&gt;
〔晚韶华〕&lt;br /&gt;
Splendor Comes Too Late &lt;br /&gt;
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。&lt;br /&gt;
Love is only a reflection in a mirror,&lt;br /&gt;
Worse still, rank and fame are nothing but a dream,&lt;br /&gt;
So quickly youth and beauty fade away.&lt;br /&gt;
Say no more of embroidered curtains and love-bird quilts,&lt;br /&gt;
Nor can a pearl tiara and phoenix jacket, &lt;br /&gt;
Stave off for long Death’s summons.&lt;br /&gt;
Though it is said that old age should be free from want,&lt;br /&gt;
This depends on the unknown merits laid by for one’s children.&lt;br /&gt;
Jubilant in official headdress,&lt;br /&gt;
And glittering with a gold seal of high office,&lt;br /&gt;
A man may be awe-inspiring and exalted,&lt;br /&gt;
But the gloomy way to the Yellow Spring is near.&lt;br /&gt;
What remains of the generals and statesmen of old?&lt;br /&gt;
Nothing but an empty name admired by posterity.&lt;br /&gt;
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〔好事终〕&lt;br /&gt;
Good Things Come To An End&lt;br /&gt;
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！&lt;br /&gt;
Fragrant dust falls from painted beams at the close of spring; &lt;br /&gt;
By nature passionate and fair as the moon,&lt;br /&gt;
The true root is she of the family’s destruction.&lt;br /&gt;
The decline of the old tradition starts with Jing,&lt;br /&gt;
The chief blame for the House’s ruin rests with Ning.&lt;br /&gt;
All their sins come about through Love.&lt;br /&gt;
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〔飞鸟各投林〕&lt;br /&gt;
The Birds Scatter To The Wood &lt;br /&gt;
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！&lt;br /&gt;
An official household declines,&lt;br /&gt;
Rich nobles’ wealth is spent.&lt;br /&gt;
She who did god escapes the jaws of death,&lt;br /&gt;
The heartless meet with certain retribution.&lt;br /&gt;
Those who took a life have paid with their own lives,&lt;br /&gt;
The tears one owed have all been requited in kind.&lt;br /&gt;
Not light the retribution for sins against others;&lt;br /&gt;
All are predestined, partings and reunions.&lt;br /&gt;
Seek the cause of untimely death in a part existence,&lt;br /&gt;
Lucky she who enjoys rank and riches in old age;&lt;br /&gt;
Those who see through the world escape from the world,&lt;br /&gt;
While foolish lovers forfeit their lives for nothing.&lt;br /&gt;
When the food is gone the birds return to the wood;&lt;br /&gt;
All that’s left is emptiness and a great void.&lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 08:55, 9 June 2021 (UTC)&lt;br /&gt;
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留余庆〕 Thanks To Small Act Of Kindness 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。 Thanks to one small act of kindness, she meets by chance a grateful friend. Thanks to her mother’s kind behavior, she has done something good unexpected. Men should rescue the distressed and help the poor, Be not like her heartless uncle or treacherous cousin, who for love of money forget their own flesh and blood. Truly, rewards and punishments, Are meted out by Heaven.&lt;br /&gt;
〔晚韶华〕 Splendor Comes Too Late 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。 Love is only a reflection in a mirror, let alone rank and fame in a dream. So quickly youth and beauty fade away. Say no more of embroidered curtains and love-bird quilts. Nor can a pearl tiara and phoenix jacket staves off for long Death’s summons. Though it is said that old age should be free from want, this depends on the unknown merits laid by for one’s children. Jubilant in official headdress, and glittering with a gold seal of high office. A man may be awe-inspiring and exalted, but the gloomy way to the Yellow Spring is near. What remains of the generals and statesmen of old? Nothing but an empty name admired by posterity.&lt;br /&gt;
〔好事终〕 Good Things Come To An End 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！ Fragrant dust falls from painted beams at the close of spring. By nature passionate and fair as the moon, the true root is she of the family’s destruction. The decline of the old tradition starts with Jing, the chief blame for the House’s ruin rests with Ning. All their sins come about through Love.&lt;br /&gt;
〔飞鸟各投林〕 The Birds Scatter To The Wood 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！ An official household declines, rich nobles’ wealth is spent. She who did god escapes the jaws of death, the heartless meet with poetic justice. Those who took a life have paid with their own lives, the tears one owed have all been requited in kind. Not light the retribution for sins against others; all are predestined, partings and reunions. Seeking the cause of untimely death in a part existence, lucky she who enjoys rank and riches in old age. Those who see through the world escape from the world, while foolish lovers forfeit their lives for nothing. When the food is gone the birds return to the wood; all that’s left is emptiness and a great void.—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 11:49, 6 April 2021 (UTC)&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
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。”&lt;br /&gt;
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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。...&lt;br /&gt;
After this they would have gone on to sing the second series, but the Fairy Disenchantment of Disenchantment saw that Precious Jade was utterly bored. “Silly boy!” she sighed. “You still don’t understand.” Precious Jade asked the faires then not to sing any more, explaining that he was drunk and would like to sleep off the effects of the wine. The Fairy Disenchantment ordered the feast to be cleared away and escorted him into a scented chamber hung with silk, more luxuriously furnished than any he had seen in his life. More amazing still, he saw there a girl whose charm reminded him of Baochai, her grace of Black Jade. He was puzzling over this when The Fairy Disenchantment said: “In your dusty world, countless green-windowed chambers and embroidered boudoirs of rich and noble families are desecrated by amorous men and loose women. Worse still, all dissolute wretches since ancient times have drawn a distinction between love of beauty and carnal desire, between love and lust, so as to gloss over their immorality. Love of beauty leads to lust, and desire even more so. Thus every sexual transport of cloud and rain is the inevitable climax of love of beauty and desire. And what I like about you is that you are the most lustful man ever to have lived in this world since time immemorial.”&lt;br /&gt;
“You must be mistaken, goddess,” protested the frightened Precious Jade. “My parents are always scolding me because I’m too lazy to study. How dare I risk being called ‘lustful’ as well? Besides, I’m still young and hardly know what that word means. “Don’t worry,” said The Fairy Disenchantment. “In principle all lust is the same, but it has different connotations. For instance, there are profligates in the world who delight only in physical beauty, singing, dancing, endless merriment and constant rain-and-cloud games. They would like to possess all the beauties in the world to gratify their momentary desires. These are coarse creatures steeped in fleshly lust. In your case, you were born with a passionate nature which we call ‘lust of the mind.’ This can be grasped by the mind but not expressed, apprehended intuitively but not described in words.”&lt;br /&gt;
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After this they would have gone on to sing the second series, but the Fairy Disenchantment of Disenchantment saw that Precious Jade was utterly bored. “Silly boy!” she sighed. “You still don’t understand.” Precious Jade asked the faires then not to sing any more, explaining that he was drunk and would like to sleep off the effects of the wine. The Fairy Disenchantment ordered the feast to be cleared away and escorted him into a scented chamber hung with silk, more luxuriously furnished than any he had seen in his life. More amazing still, he saw there a girl whose charm reminded him of Precious Virtue, her grace of Mascara Jade. He was puzzling over this when The Fairy Disenchantment said: “In your dusty world, countless green-windowed chambers and embroidered boudoirs of rich and noble families are desecrated by amorous men and loose women. Worse still, all dissolute wretches since ancient times have drawn a distinction between love of beauty and carnal desire, between love and lust, so as to gloss over their immorality. Love of beauty leads to lust, and desire even more so. Thus every sexual transport of cloud and rain is the inevitable climax of love of beauty and desire. And what I like about you is that you are the most lustful man ever to have lived in this world since time immemorial.” “You must be mistaken, goddess,” protested the frightened Precious Jade. “My parents are always scolding me because I’m too lazy to study. How dare I risk being called ‘lustful’ as well? Besides, I’m still young and hardly know what that word means. “Don’t worry,” said The Fairy Disenchantment. “In principle all lust is the same, but it has different connotations. For instance, there are profligates in the world who delight only in physical beauty, singing, dancing, endless merriment and constant rain-and-cloud games. They would like to possess all the beauties in the world to gratify their momentary desires. These are coarse creatures steeped in fleshly lust. In your case, you were born with a passionate nature which we call ‘lust of the mind.’ This can be grasped by the mind but not expressed, apprehended intuitively but not described in words.”—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 04:51, 28 April 2021 (UTC)&lt;br /&gt;
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1.Precious Jade asked the faires then not to sing any more, explaining that he was drunk and would like to sleep off the effects of the wine. →Precious Jade asked the fairies then not to sing any more, explaining that he was drunk and would like to sleep off the effects of the wine. --[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:31, 16 June 2021 (UTC)&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
...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。&lt;br /&gt;
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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&lt;br /&gt;
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。”&lt;br /&gt;
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As you now are imbued with this desire only in the abstract， you are certainly well fit to be a trustworthy friend in inner apartments， but， on the path of the mortal world， you will inevitably be misconstrued and defamed； every mouth will ridicule you； every eye will look down upon you with contempt. After meeting recently your worthy ancestors， the two Dukes of Ning and Jung， who opened their hearts and made their wishes known to me with such fervour， I consequently led you along， my son， and inebriated you with luscious wines， steeped you in spiritual tea， and admonished you with excellent songs， bringing also here a young sister of mine， whose infant name is Chien Mei， and her style K'o Ching， to be given to you as your wedded wife. To-night， the time will be propitious and suitable for the immediate consummation of the union， with the express object of letting you have a certain insight into the fact that if the condition of the abode of spirits within the confines of Fairyland be still so ， how much the more so should be the nature of the affections which prevail in the dusty world； with the intent that from this time forth you should positively break loose from bondage， perceive and amend your former disposition， devote your attention to the works of Confucius and Mencius， and set your steady purpose upon the principles of morality.&amp;quot;&lt;br /&gt;
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Having ended these remarks， she initiated him into the mysteries of licentious love， and， pushing Precious Jade into the room， she closed the door， and took her departure all alone. Precious Jade in a dazed state complied with the admonitions given him by the Fairy， and the natural result was， of course， a violent flirtation， the circumstances of which it would be impossible to recount.&lt;br /&gt;
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When the next day came， he was by that time so attached to her by ties of tender love and their conversation was so gentle and full of charm that he could not brook to part from K'o Ching. Hand-in-hand， the two of them therefore， went out for a stroll， when they unexpectedly reached a place， where nothing else met their gaze than thorns and brambles， which covered the ground， and a wolf and a tiger walking side by side. Before them stretched the course of a black stream， which obstructed their proGREss； and over this stream there was， what is more， no bridge to enable one to cross it.&lt;br /&gt;
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While they were exercising their minds with perplexity， they suddenly espied the Fairy coming from the back in pursuit of them. &amp;quot;Desist at once，&amp;quot; she exclaimed， &amp;quot;from making any advance into the stream； it is urgent that you should， with all speed， turn your faces round！&amp;quot;&lt;br /&gt;
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Precious Jade lost no time in standing still. &amp;quot;What is this place？&amp;quot; he inquired.&lt;br /&gt;
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&amp;quot;This is the Ford of Enticement，&amp;quot; explained the Fairy. &amp;quot;Its depth is ten thousand chang； its breadth is a thousand li； in its stream there are no boats or paddles by means of which to effect a passage. There is simply a raft， of which Mu Chu-shih directs the rudder， and which Hui Shih chen punts with the poles. They receive no compensation in the shape of gold or silver， but when they come across any one whose destiny it is to cross， they ferry him over. You now have by accident strolled as far as here， and had you fallen into the stream you would have rendered quite useless the advice and admonition which I previously gave you.&amp;quot;&lt;br /&gt;
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these words were scarcely concluded， when suddenly was heard from the midst of the Ford of Enticement， a sound like unto a peal of thunder， whereupon a whole crowd of gobblins and sea-urchins laid hands upon Precious Jade and dragged him down.&lt;br /&gt;
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This so filled Precious Jade with consternation that he fell into a perspiration as profuse as rain， and he simultaneously broke forth and shouted， &amp;quot;Rescue me，Keqing！&amp;quot;&lt;br /&gt;
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these cries so terrified Xiren and the other waiting-maids， that they rushed forward， and taking Precious Jade in their arms， &amp;quot;Don't be afraid， Precious Jade，&amp;quot; they said， &amp;quot;we are here.&amp;quot;&lt;br /&gt;
1. 留意于孔孟之间，委身于经济之道“devote your attention to the works of Confucius and Mencius， and set your steady purpose upon the principles of morality.&amp;quot;：the principle of profit and loss--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 11:43, 6 April 2021 (UTC)&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
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。&lt;br /&gt;
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平儿素知凤姐与秦氏厚密，遂自作主意，拿了一匹尺头，两个 “状元及第”的小金锞子，交付来人送过去，凤姐还说太简薄些。秦氏等谢毕， 一时吃过了饭，尤氏、凤姐、秦氏等抹骨牌，不在话下。&lt;br /&gt;
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宝玉秦钟二人随便起坐说话，那宝玉自一见秦钟人品，心中便有所失，痴&lt;br /&gt;
了半日，自己心中又起了个呆意，乃自思道：“天下竟有这等的人物！如今看了， 我竟成了泥猪癞狗了。可恨我为什么生在这侯门公府之家？若也生在寒儒薄 宦之家，早得与他交接，也不枉生了一世。我虽比他尊贵，可知绫锦纱罗，也不 过裹了我这枯株朽木；美酒羊羔，也只不过填了我这粪窟泥沟。‘富贵’二字， 不啻遭我荼毒了！”秦钟自见宝玉形容出众，举止不浮，更兼金冠绣服，艳婢矫 童，——“果然怨不得人人溺爱他，可恨我偏生于清寒之家，那能与他交接，可 知‘贫富’二字限人，亦世界上大不快事。”二人一样的胡思乱想。宝玉又问他 读什么书，秦钟见问，便依实而答。二人你言我语，十来句后，越觉亲密起来。&lt;br /&gt;
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一时摆上茶果吃茶，宝玉便说：“我们两个又不吃酒，把果子摆在里间小炕&lt;br /&gt;
上，我们那里坐去，省得闹你们。”于是二人进里间来吃茶。秦氏一面张罗与凤 姐摆果酒，一面忙进来嘱宝玉道：“宝叔，你侄儿年小，倘或言语不防头，你千万 看着我，不要睬他。&lt;br /&gt;
But Ms.Qin was telling the girls to watch the cat and dog fight outside the room. Suddenly, Precious Jade called her infant name in his dream. She was puzzled and said, &amp;quot;my infant name is never known here. How can he know it and call it out in his dream?&amp;quot; I'm not sure. Let's listen.&lt;br /&gt;
Ping'er knew that Xi Feng and the Ms. Qin were close in usual , so she made up her mind and took a foot of cloth , two &amp;quot;number one scholar&amp;quot; small gold ingots, and delivered them to the messenger. Xi Feng said it was too simple. After thanks for the gifts , Qin had a meal with them together, but Ms. You, Xi feng, Qin and others put on their dominoes.&lt;br /&gt;
Precious Jade and Qinzhong sat up and talked casually. When Precious Jade acknowledged Qinzhong's character, he felt loss in his heart. After a long time of infatuation, he was stunned again. He thought to himself, &amp;quot;There are such people in the world! Now I have become a mud-stained pig and a scabby-skin dog. Why I born in this noble and powerful family? If I had been born in the family of a scholar and a officialdom, I would have been handed over to him for a long time. Though I am more noble than him, I can see that the silk brocade gauze has only wrapped up me like a dead tree; the fine wine lamb has only filled my dung hole. The word &amp;quot;wealth&amp;quot; has been poisoned by me.” Qin Zhong saw Precious Jade whose appearance is outstanding, whose manner was not floating, and who also had a golden crown and embroidered clothes, and whose lovely servant girls and boys. &amp;quot;I really can't blame everyone for doting on him. I hate that I was born in a poor family. If I can hand over with him, how can I see his world? ‘Rich and Poor’ limits people, and that's the great unhappiness in the world.&amp;quot; Both of them had the same wishful thinking. When Precious Jade asked him what book he read, Qin Zhong answered genuinely. They talked with each other, after ten sentences, feeling more intimate.&lt;br /&gt;
For a moment when the fruit and tea are put , Precious Jade said, &amp;quot;We don't drink alcohol. Put the fruit on the small heatable brick bed in the inner room. Let's sit there, so as not to disturb you.&amp;quot; So they came inside to have tea. Ms. Qin, while making arrangements with Xifeng for fruit and wine, hurriedly came in and entrusted Precious Jade, &amp;quot;Uncle Jade, your nephew is young. If he  say something inappropriate, please ignore his offense for my sake.&lt;br /&gt;
While the Qin was telling the girls to watch out the dogs and cats outside the room, she heard Precious Jade murmured her infant name in the sleep. Being confused, she whispered, &amp;quot;Actually, no one knows my nickname here. How could he know it and call it out in his sleep?&amp;quot; Wanting to know more, you shall read the next chapter.&lt;br /&gt;
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Knowing that Sister Phoenix and the Qin were in a good relationship, Pin’er made a decision by herself. She took a piece of cloth and two &amp;quot;number one scholar&amp;quot; small gold ingots, delievering them to the messenger. Sister Phoenix still said it was too simple and cheap. After giving their thanks, they had a meal. After the meal, the You, Sister Phoenix and the Qin together with others played cards. All of them are skilled at it.&lt;br /&gt;
Precious Jade and Qinzhong got together, talking freely. When Precious Jade discovered Qinzhong's good qualities, he felt a great loss. After a long time of infatuation, he was stunned again. He thought to himself, &amp;quot;There are such people in the world! Now I have become a mud-stained pig and a scabby-skin dog. Why I born in this noble and powerful family? If I had been born in the family of a scholar and a officialdom, I would have been handed over to him for a long time. Though I am more noble than him, I can see that the silk brocade gauze has only wrapped up me like a dead tree; the fine wine lamb has only filled my dung hole. The word &amp;quot;wealth&amp;quot; has been poisoned by me.” Qin Zhong saw Precious Jade whose appearance is outstanding, whose manner was not floating, and who also had a golden crown and embroidered clothes, and whose lovely servant girls and boys. &amp;quot;I really can't blame everyone for doting on him. I hate that I was born in a poor family. If I can hand over with him, how can I see his world? ‘Rich and Poor’ limits people, and that's the great unhappiness in the world.&amp;quot; Both of them had the same wishful thinking. When Precious Jade asked him what book he read, Qin Zhong answered genuinely. They talked with each other, after ten sentences, feeling more intimate.&lt;br /&gt;
For a moment when the fruit and tea are put , Precious Jade said, &amp;quot;We don't drink alcohol. Put the fruit on the small heatable brick bed in the inner room. Let's sit there, so as not to disturb you.&amp;quot; So they came inside to have tea. Ms. Qin, while making arrangements with Xifeng for fruit and wine, hurriedly came in and entrusted Precious Jade, &amp;quot;Uncle Jade, your nephew is still young. If he says something inappropriate, you shall just ignore him or just talk with me.” ——[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
Knowing that Sister Phoenix and the Qin were in a good relationship, Patience made a decision by herself. She took a piece of cloth and two &amp;quot;number one scholar&amp;quot; small gold ingots, delievering them to the messenger. Sister Phoenix still said it was too simple and cheap. After giving their thanks, they had a meal. After the meal, the Ms. Outstanding , Sister Phoenix and the Qin together with others played cards. All of them are skilled at it. Precious Jade and Clock Qin got together, talking freely. When Precious Jade discovered Clock Qin's good qualities, he felt a great loss. After a long time of infatuation, he was stunned again. He thought to himself, &amp;quot;There are such people in the world! Now I have become a mud-stained pig and a scabby-skin dog. Why I born in this noble and powerful family? If I had been born in the family of a scholar and a officialdom, I would have been handed over to him for a long time. Though I am more noble than him, I can see that the silk brocade gauze has only wrapped up me like a dead tree; the fine wine lamb has only filled my dung hole. The word &amp;quot;wealth&amp;quot; has been poisoned by me.” Clock Qin saw Precious Jade whose appearance is outstanding, whose manner was not floating, and who also had a golden crown and embroidered clothes, and whose lovely servant girls and boys. &amp;quot;I really can't blame everyone for doting on him. I hate that I was born in a poor family. If I can hand over with him, how can I see his world? ‘Rich and Poor’ limits people, and that's the great unhappiness in the world.&amp;quot; Both of them had the same wishful thinking. When Precious Jade asked him what book he read, Clock Qin answered genuinely. They talked with each other, after ten sentences, feeling more intimate. For a moment when the fruit and tea are put , Precious Jade said, &amp;quot;We don't drink alcohol. Put the fruit on the small heatable brick bed in the inner room. Let's sit there, so as not to disturb you.&amp;quot; So they came inside to have tea. Ms. Qin, while making arrangements with Splendid Phoenix for fruit and wine, Frivolity Grain Qin hurriedly came in and entrusted Precious Jade, &amp;quot;Uncle Jade, your nephew is still young. If he says something inappropriate, you shall just ignore him or just talk with me.”--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 07:08, 27 April 2021 (UTC)&lt;br /&gt;
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=Yì Míngxiá  易明霞=&lt;br /&gt;
他虽腼腆，却性子左强，不大随和些是有的。”宝玉笑道：“你 去罢，我知道了。”秦氏又嘱了他兄弟一回，方去陪凤姐。&lt;br /&gt;
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一时凤姐尤氏又打发人来问宝玉：“要吃什么，外面有，只管要去。”宝玉只&lt;br /&gt;
答应着，也无心在饮食间，只问秦钟近日家务等事。秦钟因言：“业师于去岁辞 馆，家父年纪老了，残疾在身，公务繁冗，因此尚未议及延师，目下不过在家温习 旧课而已。再读书一事，也必须有一二知己为伴，时常大家讨论，才能进益 ……”宝玉不待说完，便道：“正是呢，我们家却有个家塾，合族中有不能延师的 便可入塾读书，亲戚子弟可以附读。我因上年业师回家去了，也现荒废着。家 父之意，亦欲暂送我去，且温习着旧书，待明年业师上来，再各自在家亦可。家 祖母因说：一则家学里子弟太多，生恐大家淘气，反不好；二则也因我病了几天， 遂暂且耽搁着。如此说来，尊翁如今也为此事悬心，今日回去，何不禀明，就在 我们这敝塾中来，我也相伴，彼此有益，岂不是好事？”秦钟笑道：“家父前日在家 提起延师一事，也曾提起这里的义学倒好，原来要和这里的亲翁商议引荐；因这 里又有事忙，不便为这点小事来聒絮的。宝叔果然度小侄或可磨墨涤砚，何不 速速的作成，彼此不致荒废，又可以常相谈聚，又可以慰父母之心，又可以得朋 友之乐，岂不美事？”&lt;br /&gt;
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Though being shy, he was bullheaded, not very easygoing. Precious Jade smiled and said, “I know it, now. You could go.” After exhorting his brother again, Mrs. Grain went back to accompany Sister Phoenix. &lt;br /&gt;
Not in a while, Sister Phoenix ordered someone to ask Precious Jade. “What do you want to eat? There is everything outside. You shall ask for what you want.” Though replying yes, Precious Jade was in no mood to diet, only asking Clock Qin’s recent situation. Then, Clock Qin said, “My teacher retired last year. And my father was aged, disabled and still busy with his work. Hence, serving another apprenticeship was put off. Recently, I just review the classes at home. Besides, as for learning, there must be some good friends discussing the problems with you. Only then, you could get progress……” Not until the talking finished, Precious Jade interrupted, “Exactly, we owned a private school. Anyone unable to own a teacher in the family shall go to study at that school. Also, their relatives are allowed to go to study in accompanying them. Since my teacher went back home last year, I did not continue my study, yet. As for my father, he wants to send me to the school and to review the books I’ve learned. We shall wait until the teacher come back next year, and then study at home respectively. My grandma also said that, for one thing, there would be quarrels if too many juniors got together, which is not good; for another thing, I was ill these days, so it was delayed. From what you said before, your father is also worried about your study. So, how about tell your father that and let you go to study at our small and shabby school when you go home today. What’s more, with my accompaniment, it’s good for both of us, isn’t it?” Clock Qin smiled and said, “The day before yesterday, my father talked about my seeking for another teacher and mentioned that the school there was pretty good; he had planned to talk with the relatives there to get the recommendation. But he did not want to disturb you with such a trifle because you had a lot of things to be busy with. Finally, uncle Precious considers my being able to grind the ink and clean the inkstone. Then, why not start it as fast as we can? Not only our time won’t be wasted, but also we shall get together and communicate with each other now and then. Also, we can comfort our parents, meanwhile, enjoying the happiness of making friends. Isn’t it a wonderful thing?”&lt;br /&gt;
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Though being shy, he was bullheaded, not very easygoing. Precious Jade smiled and said, “I know it, now. You could go.” After exhorting his brother again, Mr. Grain went back to accompany Splendid Phoenix King. Not in a while, Sister Phoenix and Madam Outstanding sent to remind Precious Jade, if he wanted anything from their room, just asked for it. Though replying yes, Precious Jade had not interest in food, only asking Clock Grain’s recent situation. Then, Clock Grain said, “My teacher retired last year. And my father was aged, disabled and still busy with his work. Hence, he hasn’t had time to find me another yet. At present I just review the classes at home. In any case, I n studying you need one or two congenial companions to talk things over with from time to time, to get the best out of it.” Not until the talking finished, Precious Jade interrupted, “Exactly, we owned a private school. We have a school for members of our clan who can’t engage a teacher, and some relatives attend it, too. Since my teacher went back home last year, I did not continue my study, yet. My father wanted to send me to the school and to review the books I’ve learned, until the teacher returns next year, when I can go on studying at home alone. But my grandmother was against it, for fear so many boys would get up to mischief; and as I’ve been unwell for a few days the matter’s been dropped for a while. From what you said before, your father is considered over your study. Why not tell your father that and let you go to study at our small and shabby school when you go home today? I will be your school fellow, and we can help each other.” Clock Grain smiled and said, “The day before yesterday, my father talked about my seeking for another teacher and mentioned that the school there was pretty good; he had planned to talk with Treasure Merchant  there to get the recommendation. But he did not want to disturb him with such a trifle because he had a lot of things to be busy with. Finally, uncle Precious considers my being able to grind the ink and clean the inkstone. Then, why not start it as fast as we can? Not only our time won’t be wasted, but also we shall get together and communicate with each other now and then. Also, we can comfort our parents, meanwhile, enjoying the happiness of making friends. Isn’t it a wonderful thing?”--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 13:25, 6 April 2021 (UTC)&lt;br /&gt;
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Though being shy, he was bullheaded, not very easygoing. Precious Jade smiled and said, “I know it, now. You could go.” After exhorting his brother again, Mr. Qin went back to accompany Sister Phoenix. Not in a while, Sister Phoenix ordered someone to ask Precious Jade. “What do you want to eat? There is everything outside. You shall ask for what you want.” Though replying yes, Precious Jade was in no mood to diet, only asking Clock Qin’s recent situation. Then, Clock Qin said, “My teacher retired last year. And my father was aged, disabled and still busy with his work. Hence, serving another apprenticeship was put off. Recently, I just review the classes at home. Besides, as for learning, there must be some good friends discussing the problems with you. Only then, you could get progress……” Not until the talking finished, Precious Jade interrupted, “Exactly, we owned a private school. Anyone unable to own a teacher in the family shall go to study at that school. Also, their relatives are allowed to go to study in accompanying them. Since my teacher went back home last year, I did not continue my study, yet. As for my father, he wants to send me to the school and to review the books I’ve learned. We shall wait until the teacher come back next year, and then study at home respectively. My grandma also said that, for one thing, there would be quarrels if too many juniors got together, which is not good; for another thing, I was ill these days, so it was delayed. From what you said before, your father is also worried about your study. So, how about tell your father that and let you go to study at our small and shabby school when you go home today. What’s more, with my accompaniment, it’s good for both of us, isn’t it?” Clock Qin smiled and said, “The day before yesterday, my father talked about my seeking for another teacher and mentioned that the school there was pretty good; he had planned to talk with the relatives there to get the recommendation. But he did not want to disturb you with such a trifle because you had a lot of things to be busy with. Finally, uncle Precious considers my being able to grind the ink and clean the inkstone. Then, why not start it as fast as we can? Not only our time won’t be wasted, but also we shall get together and communicate with each other now and then. Also, we can comfort our parents, meanwhile, enjoying the happiness of making friends. Isn’t it a wonderful thing?”----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
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=Yuán Jìng 袁静=&lt;br /&gt;
宝玉道：“放心，放心。咱们回来先告诉你姐夫姐姐和琏二 嫂子，今日你回家就禀明令尊，我回去禀明了祖母，再无不速成之理。”二人计议 已定，那天气已是掌灯时分，出来又看他们玩了一回牌，算账时，却又是秦氏尤 氏二人输了戏酒的东道，言定后日吃这东道，一面又吃了晚饭。&lt;br /&gt;
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因天黑了，尤氏说：“派两个小子送了秦相公家去。”媳妇们传出去半日，秦&lt;br /&gt;
钟告辞起身，尤氏问：“派谁送去？”媳妇们回说：“外头派了焦大，谁知焦大醉 了，又骂呢。”尤氏秦氏都道：“偏又派他作什么？那个小子派不得？偏又惹 他。”凤姐道：“成日家说，你太软弱了，纵得家里人这样，还了得呢！”尤氏道： “你难道不知这焦大的？连老爷都不理他，你珍大哥哥也不理他。因他从小儿 跟着太爷出过三四回兵，从死人堆里把太爷背了出来，得了命；自己挨着饿，却 偷了东西给主子吃；两日没水，得了半碗水，给主子吃，他自己喝马溺。不过仗 着这些功劳情分，有祖宗时，都另眼相待，如今谁肯难为他？他自己又老了，又 不顾体面，一味的好酒，喝醉了无人不骂。我常说给管事的，以后不要派他差 使，只当他是个死的就完了。今儿又派了他。”凤姐道：“我何曾不知这焦大？ 到底是你们没主意，何不远远的打发他到庄子上去就完了。”&lt;br /&gt;
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“Don’t worry,” Precious Jade said, “Let’s go and tell your brother-in-law and your sister，as well as Sister Phoenix. You can speak to your father as long as you get home, and I’ll tell my grandmother.  Thus it will be arranged quickly.” By the time this was sentled, lamps were being lit and they went out to watch the game again. When the score was reckoned, Qin Frivolity and Madam You had lost again and it was agreed that they should stand treat to a meal and an opera show in two day’s time. Then they chatted a while. After dinner, because it was dark, Madam You suggested that they assigned two male servants to send home, and maids went out with this order. And Qin Zhong rose to take his leave, Madam You asked who was to accompany him. “Jia Da,” the maids said. “But he is drunk and using four language now.” “But why assign him?” protested Madam You and Keqing, “We have all those young fellows who could go. Why pick Jiao Da?” Phoenix King said, “I have always said that you are too soft with your servants. Fancy letting them have their own way liked this!” “You know Jiaoda, surely?” Madam You sighed. “Not even the master can control him, let alone Cousin Zhen. He went out with our great-grandfather on three or four expeditions when he was young, and saved his master’s life by carrying him off a battlefield heaped with corpses. He went hungry himself but stole food for his master; after two days without water, he gave a half bowl of water to his master, and drank horse urine himself instead. Because of these services, he was treated with special consideration in our great-grandfather’s time and nobody likes to interfere with him now. But since growing old, he has no regard for appearances. He does nothing but drink. And when he is drunk, he abused everyone. I have told the stewards to write him off and not to give him any job many times. Yet he is being picked again.” Phoenix King replied, “Of course I know Jiaoda, but you ought to be able to handle him. Why not just pack him off to some distant farm?”--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 04:07, 3 April 2021 (UTC)&lt;br /&gt;
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“Don’t be worried,” Precious Jade said, “Let’s go and tell your brother-in-law and your sister, as well as Sister Phoenix. You can speak to your father as long as you get home, and I’ll tell my grandmother.  Thus it will be arranged quickly.” By the time this was sentled, lamps were being lit and they went out to watch the game again. When the score was reckoned, Keqing and Madam You had lost again and it was agreed that they should stand treat to a meal and an opera show in two day’s time. Then they chatted a while. After dinner, because it was dark, Madam You suggested that they assigned two male servants to send Qin Zhong home, and maids went out with this order. And Qin Zhong rose to take his leave, Madam You asked who was to accompany him. “Jia Da,” the maids said. “But he is drunk and using four language now.” “But why assign him?” protested Madam You and Keqing, “We have all those young fellows who could go. Why pick Jiao Da?” Phoenix King said, “I have always said that you are too soft with your servants. Fancy letting them have their own way liked this!” “You know Jiao Da, surely?” Madam You sighed. “Not even the master can control him, let alone Cousin Zhen. He went out with our great-grandfather on three or four expeditions when he was young, and saved his master’s life by carrying him off a battlefield heaped with corpses. He went hungry himself but stole food for his master; after two days without water, he gave a half bowl of water to his master, and drank horse urine himself instead. Because of these services, he was treated with special consideration in our great-grandfather’s time and nobody likes to interfere with him now. But since growing old, he has no regard for appearances. He does nothing but drink. And when he is drunk, he abused everyone. I have told the stewards to write him off and not to give him any job many times. Yet he is being picked again.” Phoenix King replied, “Of course I know JiaoDa, but you ought to be able to handle him. Why not just pack him off to some distant farm?”--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 07:52, 7 April 2021 (UTC)&lt;br /&gt;
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=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
说着，因问：“我们 的车可齐备了？”众媳妇们说：“伺候齐了。”凤姐也起身告辞，和宝玉携手同行。&lt;br /&gt;
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尤氏等送至大厅口，见灯火辉煌，众小厮都在丹墀侍立。那焦大又恃贾珍&lt;br /&gt;
不在家，因趁着酒兴，先骂大总管赖二，说他：“不公道，欺软怕硬，有好差使派了 别人；这样黑更半夜送人，就派我，没良心的忘八羔子！瞎充管家！你也不想想 焦大太爷跷起一只腿，比你的头还高些。二十年头里的焦大太爷眼里有谁？别 说你们这一把子的杂种们！”&lt;br /&gt;
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正骂得兴头上，贾蓉送凤姐的车出来，众人喝他不住，贾蓉忍不得便骂了&lt;br /&gt;
几句，叫人：“捆起来！等明日酒醒了，问他还寻死不寻死！”那焦大那里有贾蓉 在眼里？反大叫起来，赶着贾蓉叫：“蓉哥儿，你别在焦大跟前使主子性儿。别 说你这样儿的，就是你爹、你爷爷，也不敢和焦大挺腰子呢！不是焦大一个人， 你们做官儿，享荣华，受富贵？你祖宗九死一生挣下这个家业，到如今不报我的 恩，反和我充起主子来了。不和我说别的还可，再说别的，咱们白刀子进去，红 刀子出来！”凤姐在车上说与贾蓉：“还不早些打发了没王法的东西！留在家 里，岂不是害？亲友知道，岂非笑话咱们这样的人家，连个规矩都没有。”贾蓉答 应“是了”。&lt;br /&gt;
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众人见他太撒野，只得上来了几个，揪翻捆倒，拖往马圈里去。&lt;br /&gt;
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Sister Phoenix asked, &amp;quot;Are our carriages ready?&amp;quot; Those wives replied, &amp;quot;They are all ready.&amp;quot; Then Sister Phoenix stood up and took leave together with Precious Jade.&lt;br /&gt;
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Madam You and others send them to the gate, seeing that those servants were standing on the red steps leading up to an imperial palace with shining lights. And First Jiao relied on  Cousin Zhen's absence, so with the help of alcohol he cursed Grand Chancellor Lie, &amp;quot;He is unjust, who like to bully the weak and fear the strong. When there is a nice work he sends it to others while there is a work which is escorting people in the dark night, he is only remind of me.A bastard with no conscientiousness! A blind housekeeper! Don't you know that my  crossing leg is higher than your head? In those 20 years of my life, I am afraid of nobody! Who do I fear？Son of bitch like you?&amp;quot; &lt;br /&gt;
When he was on a roll nows, Jia Rong and Sister Phoenix were out. And those servants were not able to stop him, so Jia Rong cursed several words and saying to servants,&amp;quot;Tie him up! After his sobering tomorrow, question him whether he is willing to die or not!&amp;quot; First Jiao gave no care about her, cried out towards her, &amp;quot;Brother, stop putting on your airs in front of me. If your father and your grandfather are here, they are not able to punish me, let along you. You are officers and rich, but you hold such huge a property which is earned by your ancestors and pay no debt of gratitude to me, and even are willing to punish me. Saying nothing else to me, or I will kill you all today!&amp;quot; Sister Phoenix said to Jia Rong on the carriage, &amp;quot;You would better fire those who ignore rules. If you keep them in your house, they would be scourges. What's more, if your relatives know that, they must laugh at us about the improper behaviors.&amp;quot; Jia Rong replied, &amp;quot;Yes.&amp;quot;&lt;br /&gt;
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Seeing his wild behavior, together with other people servants pulled him down and tied him up, and then towed him to steadies. --[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 14:35, 5 April 2021 (UTC)&lt;br /&gt;
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Sister Phoenix asked, &amp;quot;Are our carriages ready?&amp;quot; Those wives replied, &amp;quot;They are all ready.&amp;quot; Then Sister Phoenix stood up and took leave together with Precious Jade.&lt;br /&gt;
&lt;br /&gt;
Madam You and others send them to the gate, seeing that those servants were standing on the red steps leading up to an imperial palace with shining lights. And Big Coke relied on  Treasure Merchant's absence, so with the help of alcohol he cursed Grand Chancellor Rascal Second, &amp;quot;He is unjust, who like to bully the weak and fear the strong. When there is a nice work he sends it to others while there is a work which is escorting people in the dark night, he is only remind of me.A bastard with no conscientiousness! A blind housekeeper! Don't you know that my  crossing leg is higher than your head? In those 20 years of my life, I am afraid of nobody! Who do I fear？Son of bitch like you?&amp;quot; &lt;br /&gt;
When he was on a roll nows, Prosperity Merchant and Sister Phoenix were out. And those servants were not able to stop him, so Prosperity Merchant cursed several words and saying to servants,&amp;quot;Tie him up! After his sobering tomorrow, question him whether he is willing to die or not!&amp;quot; Big Coke gave no care about her, cried out towards her, &amp;quot;Brother, stop putting on your airs in front of me. If your father and your grandfather are here, they are not able to punish me, let along you. You are officers and rich, but you hold such huge a property which is earned by your ancestors and pay no debt of gratitude to me, and even are willing to punish me. Saying nothing else to me, or I will kill you all today!&amp;quot; Sister Phoenix said to Prosperity Merchant on the carriage, &amp;quot;You would better fire those who ignore rules. If you keep them in your house, they would be scourges. What's more, if your relatives know that, they must laugh at us about the improper behaviors.&amp;quot; Prosperity Merchant replied, &amp;quot;Yes.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Seeing his wild behavior, together with other people servants pulled him down and tied him up, and then towed him to steadies.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 13:36, 26 April 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210324_culture&amp;diff=123402</id>
		<title>20210324 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210324_culture&amp;diff=123402"/>
		<updated>2021-06-16T05:26:50Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Homework 4 from Mar 24 for Mar 31, 2021&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
'''《红楼梦》程甲本'''&lt;br /&gt;
&lt;br /&gt;
Please find the most beautiful translations of names and jointly agree to use them. Please also list common terms and joint translation here:&lt;br /&gt;
*Jia Baoyu = Precious Jade&lt;br /&gt;
*Jia Yucun = Rain Village&lt;br /&gt;
*Lin Daiyu = Mascara Jade&lt;br /&gt;
*Zhen Shiyin = Hide-the-facts&lt;br /&gt;
*...(everybody please add more here)&lt;br /&gt;
&lt;br /&gt;
=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
第十六回 贾元春才选凤藻宫  秦鲸卿夭逝黄泉路&lt;br /&gt;
&lt;br /&gt;
且说秦钟宝玉二人跟着凤姐自铁槛寺照应一番，坐车进城，到家见过贾母王夫人等，回到自己房中，一夜无话。至次日，宝玉见收拾了外书房，约定了与秦钟读夜书。偏生那秦钟秉赋最弱，因在郊外受了些风霜，又与智能儿偷期缱绻，未免失于调养，回来时便咳嗽伤风，懒怠进饮食，大有不胜之态，只在家中调养，不能上学，宝玉便扫了兴，然亦无法，只得候他病痊再议了。&lt;br /&gt;
&lt;br /&gt;
那凤姐却已得了云光的回信，俱已妥协，老尼达知张家，果然那守备忍气吞声，受了前聘之物。谁知爱势贪财之父母，却养了一个知义多情的女儿，闻得退了前夫，另许李门，他便一条汗巾悄悄的寻了个自尽。那守备之子闻知金哥自缢，他也是个情种，遂投河而死。可怜张李二家没趣，真是“人财两空”。这里凤姐却安享了三千两，王夫人连一点消息也不知道。自此凤姐胆识愈壮，以后所作所为，诸如此类，不可胜数。&lt;br /&gt;
&lt;br /&gt;
Chapter 6&lt;br /&gt;
&lt;br /&gt;
Spring Merchant was selected as Imperial Consort in Phoenix Palace Qin Bell Dying Before His Time Sets Off for the Nether Regions&lt;br /&gt;
&lt;br /&gt;
Before long Gem Merchant's outer study was ready. He had agreed with Qin Bell to start evening lessons together; but Qin Bell had a weak constitution, and a cold he had caught in the country following his secret affair with Intellect had upset him; thus on his return to town he developed a cough and lost his appetite completely. Too weak to go out, he had to rest at home. Although Jia Gem was very disappointed, he could do nothing but wait for his friend's recovery. Meanwhile, Sunny Feng had received Cloudlight's reply, and the abbess had informed the Zhangs that their problem was solved. So the inspector had to swallow his anger and take back the betrothal gifts. But though Zhang and his wife were snobbish and mercenary, they had a principled and sentimental daughter. When Gold Ge learned that her engagement had been broken she found a rope and quietly hanged herself; and the inspector's son was so much in love that he drowned himself when he heard of her suicide, showing that he was worthy of his good fiancée. Thus the Zhang and Li families were unlucky enough to lose both girl and money. Only Sunny Feng was the gainer by three thousand taels, quite unknown to Lady Wang and the rest of the household. This emboldened her from that time on to undertake countless similar transactions, but we need not recount these here.&lt;br /&gt;
&lt;br /&gt;
Chapter 6&lt;br /&gt;
&lt;br /&gt;
Spring Merchant was selected as Imperial Consort in Phoenix Palace Qin Bell Dying Before His Time Sets Off for the Nether Regions&lt;br /&gt;
&lt;br /&gt;
Before long Gem Merchant's outer study was ready. He had agreed with Qin Bell to start evening lessons together; but Qin Bell had a weak constitution, and a cold he had caught in the country following his secret affair with Intellect had upset him; thus on his return to town he developed a cough and lost his appetite completely. Too weak to go out, he had to rest at home. Although Jia Gem was very disappointed, he could do nothing but wait for his friend's recovery. Meanwhile, Sunny Feng had received Cloudlight's reply, and the abbess had informed the Zhangs that their problem was solved. So the inspector had to swallow his anger and take back the betrothal gifts. But though Zhang and his wife were snobbish and mercenary, they had a principled and sentimental daughter. When Gold learned that her engagement had been broken， she found a rope and quietly hanged herself; and the inspector's son was so much in love with her that he drowned himself when he heard of her suicide, showing that he was worthy of his good fiancée. Thus the Zhang and Li families were unlucky enough to lose both the girl and the money. Only Sunny Feng was the gainer by three thousand taels, quite unknown to Lady Wang and the rest of the household. This emboldened her from that time on to undertake countless similar transactions, but we need not to recount these here.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 09:40, 1 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
一日正是贾政的生辰，宁荣二处人丁都齐集庆贺，热闹非常，忽有门吏报&lt;br /&gt;
道：“有六宫都太监夏老爷特来降旨。”唬的贾赦贾政一干人不知何事，忙止了&lt;br /&gt;
戏文，撤去酒席，摆香案，启中门跪接。早见都太监夏秉忠乘马而至，又有许多&lt;br /&gt;
跟从的内监。那夏太监也不曾负诏捧敕，直至正厅下马，满面笑容，走至厅上，&lt;br /&gt;
南面而立，口内说：“奉特旨：立刻宣贾政入朝，在临敬殿陛见。”说毕，也不吃茶，便乘马去了。&lt;br /&gt;
&lt;br /&gt;
贾政等也猜不出是何兆头，只得即忙更衣入朝。贾母等合家人心俱惶惶&lt;br /&gt;
不定，不住的使人飞马来往报信。有两个时辰，忽见赖大等三四个管家喘吁吁&lt;br /&gt;
跑进仪门报喜，又说“奉老爷命，速请老太太率领太太等进宫谢恩”等语。&lt;br /&gt;
&lt;br /&gt;
This day was Master Jia’s birthday. People from Ling Mansion as well as Rong Mansion got together to celebrate it, and it was really lively. Suddenly, a janitor came and said: “the excellency Xia,Chief Eunuch of the Six Palaces, has come with a Decree from the emperor.” This startled Master Jia and Jia She. They stopped the performance and had the feast cleared away. A table was set out with incense. At the central gate they knelt down to receive the decree. Soon Xia Shouzhong the Chief Eunuch arrived on horseback, followed by considerable number of eunuchs.Without any decrees, Xia Shouzhong did not get off the horse until at the main hall. Smiling, he entered the hall, facing the south direction and said; “ by special order of the emperor, Jia Zheng is to present himself at once for an audience in the Hall of Respectful Approach.” Then, he rode his horse without tea.&lt;br /&gt;
&lt;br /&gt;
Master Jia could not guess what did this mean, the only thing he could do was to put on his formal cloth and to go the the palace.&lt;br /&gt;
The whole family were nervous about this. The Lady Dowager sent one mounted messenger after another in search of news.but it was four hours before Lai Da and a few other stewards came panting through the inner gate, crying:“Good news! His Lordship asks the old lady to go at once to the Palace with the other ladies to thank His Majesty.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This day was Master Jia’s birthday. People from Ling Mansion as well as Rong Mansion got together to celebrate it, and it was really lively. Suddenly, a janitor came and said: “The excellency Xia,Chief Eunuch of the Six Palaces, has come with a Decree from the emperor.” This startled Master Jia and Jia She. They stopped the performance and had the feast cleared away, with a table set out with incense. At the central gate they knelt down to receive the decree. Soon Xia Bingzhong the Chief Eunuch arrived on horseback, followed by considerable numerous eunuchs.Without any decrees, Xia Bingzhong did not get off the horse until at the main hall. Smiling, he entered the hall, facing the south direction and said: “ By special order of the emperor, Jia Zheng is to present himself at once for an audience in the Hall of Respectful Approach.” Then, he rode his horse leaving here without drinking tea.&lt;br /&gt;
&lt;br /&gt;
Master Jia could not guess what this mean, and the only thing he could do was to put on his formal cloth and go the the palace. The whole family were nervous about this and Granny Merchant even sent one mounted messenger after another in search of news. But it was four hours before Lai Da and a few other stewards came panting through the inner gate, crying:“Good news! His Lordship asks the old lady to go to the Palace immediately with the other ladies to thank His Majesty.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 16:20, 31 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
This day was Master Merchant’s birthday. People from Ling Mansion as well as Honor Mansion got together to celebrate it, and it was really lively. Suddenly, a janitor came and said: “the excellency Summer,Chief Eunuch of the Six Palaces, has come with a Decree from the emperor.” This startled Master Merchant and Pardon Merchant. They stopped the performance and had the feast cleared away. A table was set out with incense. At the central gate they knelt down to receive the decree. Soon Loyalty-Guard Summer, the Chief Eunuch arrived on horseback, followed by considerable number of eunuchs.Without any decrees, Loyalty-Guard Summer did not get off the horse until at the main hall. Smiling, he entered the hall, facing the south direction and said; “ by special order of the emperor, Master Merchant is to present himself at once for an audience in the Hall of Respectful Approach.” Then, he rode his horse without tea.&lt;br /&gt;
&lt;br /&gt;
Master Merchant could not guess what did this mean, the only thing he could do was to put on his formal cloth and to go the the palace.&lt;br /&gt;
The whole family were nervous about this. The Lady Dowager sent one mounted messenger after another in search of news.but it was four hours before Best Deadbeat and a few other stewards came panting through the inner gate, crying:“Good news! His Lordship asks the old lady to go at once to the Palace with the other ladies to thank His Majesty.”--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 08:23, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
那时贾母心神不定，在大堂廊下伫候，邢王二夫人、尤氏、李纨、凤姐、迎春姊妹以及薛姨妈等，皆聚在一处打听信息。贾母又唤进赖大来细问端的，赖大&lt;br /&gt;
禀道：“小的们只在临庄门外伺候，里头的信息一概不知。后来夏太监出来道&lt;br /&gt;
喜，说咱们家的大小姐晋封为凤藻宫尚书，加封贤德妃。后来老爷出来亦如此&lt;br /&gt;
吩咐小的。如今老爷又往东宫去了，速请老太太们去谢恩。”贾母等听了方心&lt;br /&gt;
安，一时皆喜见于面，于是都按品大妆起来。贾母率领邢王二夫人并尤氏，一共&lt;br /&gt;
四乘大轿，鱼贯入朝。贾赦贾珍亦换了朝服，带领贾蔷贾蓉，奉侍贾母前往。&lt;br /&gt;
    &lt;br /&gt;
于是宁荣两处上下内外人等，莫不欣喜，独有宝玉置若罔闻。你道什么缘&lt;br /&gt;
故？原来近日水月庵的智能私逃入城来找秦钟，不意被秦业知觉，将智能逐去，&lt;br /&gt;
将秦钟打了一顿，自己气的老病发了，三五日光景，呜呼哀哉了。&lt;br /&gt;
&lt;br /&gt;
At the time, Granny Merchant was waiting in the hall, feeling uneasy; Madam Xing and Wang, Lady You, Li Wan, Sister Phoenix, Welcome-Spring and her sisters and Untie Xue were all gathering to discuss about the message. Granny Jia inquired You Da for the details of the cause, and You Da only said: “We all just served outside the door of the Arrival-Village and heard nothing about the talk. Later Eunuch Xia congratulated us, saying that the eldest miss in our mansion was elevated to the minister of the Phoenix-Coral Palace, and then the imperial concubine known for her virtuous manner. The master came out with the same words. At present the master has gone to Eastern Palace and asked me to invite ladies all to thanks for the grace of the emperor.” Hearing that, Granny Jia calmed down, with the happiness appearing on her face, and began to make up following the ranks she belongs to. In four sedan chairs, Granny Jia commanded Mrs. Wang and Xing and Madam You arriving in the palace. Jia She and Jia Zhen also put on the court dress and led Jia Qiang and Jia Rong to wait upon Granny Jia.&lt;br /&gt;
&lt;br /&gt;
The joy quickly spread to every corner of the Ning and Rong Mansion, and only Precious Jade seemed to have no sense of such happiness. How do you explain it? The reason was following: recently Zhi Neng, escaping from Sun Moon and Water Nunnery, has come to the city to look for Qin Zhong. Accidentally, Qin Ye knew about that and drove Zhi Neng away, criticizing Qin Zhong by hitting him. Due to this stimulation, Qin Ye suffered a relapse and passed away in a few days.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 03:54, 28 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the time, Granny Jia was waiting in the hall, feeling uneasy; Madam Xing and Wang, Lady You, Li Wan, Sister Phoenix, Welcome-Spring and her sisters and Untie Xue were all gathering to discuss about the message. Granny Jia inquired You Da for the details of the cause, and You Da only said: “We all just served outside the door of the Arrival-Village and heard nothing about the talk. Later Eunuch Xia congratulated us, saying that the eldest miss in our mansion was elevated to the minister of the Phoenix-Coral Palace, and then the imperial concubine known for her virtuous manner. The master came out with the same words. At present the master has gone to Eastern Palace and asked me to invite ladies all to thanks for the grace of the emperor.” Hearing that, Granny Jia calmed down, with the happiness appearing on her face, and began to make up following the ranks she belongs to. In four sedan chairs, Granny Jia commanded Mrs. Wang and Xing and Madam You arriving in the palace. Jia She and Jia Zhen also put on the court dress and led Jia Qiang and Jia Rong to wait upon Granny Jia.&lt;br /&gt;
&lt;br /&gt;
The joy quickly spread to every corner of the Ning and Rong Mansion, and only Precious Jade seemed to have no sense of such happiness. How do you explain it? The reason was following: recently Zhi Neng, escaping from Sun Moon and Water Nunnery, has come to the city to look for Qin Zhong. Accidentally, Qin Ye knew about that and drove Zhi Neng away, criticizing Qin Zhong by hitting him. Due to this stimulation, Qin Ye suffered a relapse and passed away in a few days.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 23:49, 30 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At the time, Grandma Merchant was waiting in the hall, feeling uneasy; Lady City and Lady King, Madam Outstanding, Silk Plum, Sister Phoenix, Spring Pleasure Merchant and her sisters and Aunt Marshgrass were all gathering to discuss about the message. Grandma Merchant inquired You Da for the details of the cause, and You Da only said, “We all just served outside the door of the Arrival-Village and heard nothing about the talk. Later Eunuch Xia congratulated us, saying that the eldest miss in our mansion was elevated to the minister of the Phoenix-Coral Palace, and then the imperial concubine known for her virtuous manner. The master came out with the same words. At present the master has gone to Eastern Palace and asked me to invite ladies all to thanks for the grace of the emperor.” Hearing that, Grandma Merchant calmed down, with the happiness appearing on her face, and began to make up following the ranks she belongs to. In four sedan chairs, Grandma Merchant commanded  Lady King, Lady City and Madam Outstanding arriving in the palace. Pardon Merchant and Treasure Merchant also put on the court dress and led Rose Merchant and Prosperity Merchant to wait upon Grandma Merchant.&lt;br /&gt;
&lt;br /&gt;
The joy quickly spread to every corner of the Ning and Rong Mansion, and only Precious Jade seemed to have no sense of such happiness. How do you explain it? The reason was following: recently Wise-ability, escaping from Sun Moon and Water Nunnery, has come to the city to look for Qin Zhong. Accidentally, Qin Ye knew about that and drove Wise-ability away, criticizing Qin Zhong by hitting him. Due to this stimulation, Qin Ye suffered a relapse and passed away in a few days.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 06:45, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
At the time, Grandma Merchant was waiting in the hall, feeling uneasy; Lady City and Lady King, Madam Outstanding, Silk Plum, Sister Phoenix, Spring Pleasure Merchant and her sisters and Aunt Marshgrass were all gathering to discuss about the message. Grandma Merchant inquired Lai Da for the details of the cause, and Lai Da only said: &amp;quot;We all just served outside the door of the Arrival-Village and heard nothing about the talk. Later Eunuch Xia congratulated us, saying that the eldest miss in our mansion was elevated to the minister of the Phoenix-Coral Palace, and then the imperial concubine known for her virtuous manner. The master came out with the same words. At present the master has gone to Eastern Palace and asked me to invite ladies all to thanks for the grace of the emperor.&amp;quot; Hearing that, Grandma Merchant calmed down, with the happiness appearing on her face, and began to make up following the ranks she belongs to. In four sedan chairs, Grandma Merchant commanded Lady King, Lady City and Madam Outstanding arriving in the palace. Pardon Merchant and Treasure Merchant also put on the court dress and led Rose Merchant and Prosperity Merchant to wait upon Grandma Merchant.&lt;br /&gt;
&lt;br /&gt;
The joy quickly spread to every corner of the Ning and Rong Mansion, and only Precious Jade seemed to have no sense of such happiness. How do you explain it? The reason was following: recently Wise-ability, escaping from Sun Moon and Water Nunnery, has come to the city to look for Qin Zhong. Accidentally, Qin Ye knew about that and drove Wise-ability away, criticizing Qin Zhong by hitting him. Due to this stimulation, Qin Ye suffered a relapse and passed away in a few days.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 08:28, 8 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Dèng Dān 邓丹=&lt;br /&gt;
秦钟本自怯弱，又带病未痊，受了笤杖，今见老父气死，此时悔痛无及，又添了许多病症。因此，宝玉心中怅怅不乐。虽有元春晋封之事，那解得他愁闷？贾母等如何谢恩，如何回家，亲友如何来庆贺，宁荣两府近日如何热闹，众人如何得意，独他一个皆视有如无，毫不介意。因此众人嘲他越发呆了。&lt;br /&gt;
&lt;br /&gt;
且喜贾琏与黛玉回来，先遣人来报信，明日就可到家了，宝玉听了，方略有&lt;br /&gt;
些喜意。细问原由，方知贾雨村亦进京引见，皆由王子腾累上荐本，此来候补京&lt;br /&gt;
缺，与贾琏是同宗弟兄，又与黛玉有师徒之谊，故同路作伴而来。林如海已葬入&lt;br /&gt;
祖茔了，诸事停妥。贾琏此番进京，若按站而走，本该出月到家，因闻元春喜信，&lt;br /&gt;
遂昼夜兼程而进，一路俱各平安。宝玉只问了黛玉“平安”二字，余者也就不在&lt;br /&gt;
意了。&lt;br /&gt;
&lt;br /&gt;
Gardener Wilde was timid in nature and has not recovered from his illness when he received this beating. The death of his father immersed himself with such regret that his condition was even worse. Because of this, Baoyu felt so gloomy that the honor conferred on Yuanchun failed to cheer him up. Jiayu remained indifferent, separating himself from congratulations of relatives, excitement in Jia Fu and triumph of others. His behavior was ridiculed by everyone.&lt;br /&gt;
Luckily, a messenger came with the news that Jia Lian and Daiyu would arrive home tomorrow. Hearing this, Baoyu showed a little joy. He asked the man and knew that Jia Yucun also came to the capital to pay homage. For thanks to Wang Ziteng’s recommendations he had been summoned to wait for a metropolitan appointment; and being a distant cousin of Jia Lian’s and Daiyu’s former tutor, he wad travelling with them. Lin Ruhai has been buried in the ancestral graveyard, his obsequies completed, Jia Lian started to come to the capital. Normally, they would arrive home in the beginning of the month; however, Yuanchun’s good news made them hurry back home. The journey was safe and smooth.&lt;br /&gt;
&lt;br /&gt;
Qin Zhong was timid in nature and has not recovered from his illness when he received this beating. The death of his father immersed himself with such regret that his condition was even worse. Because of this, Precious Jade felt so gloomy that the honor conferred on First Spring Merchant failed to cheer him up. Precious Jade remained indifferent, separating himself from congratulations of relatives, excitement in Jia Fu and triumph of others. His behavior was ridiculed by everyone.&lt;br /&gt;
Luckily, a messenger came with the news that Romance Merchant and Mascara Jade would arrive home tomorrow. Hearing this, Precious Jade showed a little joy. He asked the man and knew that Rainvillage Merchant  also came to the capital to pay homage. For thanks to Soar King’s recommendations he had been summoned to wait for a metropolitan appointment; and being a distant cousin of Romance Merchant’s and Mascara Jade’s former tutor, he wad travelling with them. Lin Ruhai has been buried in the ancestral graveyard, his obsequies completed, Romance Merchant started to come to the capital. Normally, they would arrive home in the beginning of the month; however, First Spring’s good news made them hurry back home. The journey was safe and smooth.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 16:03, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Luckily, a messenger came with the news that Jia Lian and Mascara  would arrive home tomorrow. Hearing this, Precious Jade is joyful . He asked the man and knew that Rain Village  also came to the capital to pay homage. For thanks to Wang Ziteng’s recommendations he had been summoned to wait for a metropolitan appointment; and being a distant cousin of Jia Lian’s and Mascara ’s former tutor, he wad travelling with them. Lin Ruhai has been buried in the ancestral graveyard, his obsequies completed, Jia Lian started to come to the capital. Normally, they would arrive in the beginning of the month; however, Yuanchun’s good news made them hurry back home. The journey has safety and smoothness .--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 23:43, 30 March 2021 (UTC)Ding Zhongxia&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
好容易盼到明日午错，果报：“琏二爷和林姑娘进府了。”见面时彼此悲喜&lt;br /&gt;
交集，未免大哭一场，又致慰庆之词。宝玉心中忖度黛玉，越发出落的超逸了。&lt;br /&gt;
黛玉又带了许多书籍来，忙着打扫卧室，安排器具，又将些纸笔等物分送与宝&lt;br /&gt;
钗、迎春、宝玉等。宝玉又将北静王所赠零苓香串珍重取出来，转送黛玉。黛玉&lt;br /&gt;
说：“什么臭男人拿过的，我不要这东西！”遂掷而不取。宝玉只得收回，暂且无话。&lt;br /&gt;
&lt;br /&gt;
且说贾琏自回家见过众人，回至房中，正值凤姐事繁，无片刻闲空，见贾琏&lt;br /&gt;
远路归来，少不得拨冗接待。房内无外人，便笑道：“国舅老爷大喜！国舅老爷&lt;br /&gt;
一路的风尘辛苦！小的听见昨日的头起报马来报说，今日大驾归府，略预备了&lt;br /&gt;
一杯水酒掸尘，不知可赐光谬领否？”贾琏笑道：“岂敢，岂敢！多承，多承。”一面平儿与众丫鬟参见毕，献茶。&lt;br /&gt;
&lt;br /&gt;
Very hard to look forward to tomorrow afternoon wrong, the result: &amp;quot;Lian two Lord and miss Lin into the mansion.&amp;quot; When they meet each other sad and happy&lt;br /&gt;
Intersection, rather a cry, and to celebrate the words of comfort. Precious Jade was thinking of Mascara Jade more and more elegantly.Mascara Jade also brought a lot of books, and was busy cleaning the bedroom, arranging utensils, and distributing some paper and pens to Bao&lt;br /&gt;
Flowers, spring, jade and so on. Precious Jade then took out the string of Lingxiang as a gift from the king of Beijing and sent it to Daiyu. The dai jade&lt;br /&gt;
Say: &amp;quot;what smelly man took of, I don't want this thing!&amp;quot; Then throw and do not take. Baoyu had to take back, and no words for the time being.&lt;br /&gt;
&lt;br /&gt;
Jia Lian had seen many people since he returned home. When he returned to his room, Sister Feng was busy and had no spare time to see Jia Lian&lt;br /&gt;
Long way back, must not spare some time to receive. No outsiders in the room, he said with a smile: &amp;quot;uncle great joy! The prince's maternal uncle master&lt;br /&gt;
All the way the wind and dust hard! The younger one heard yesterday's first Malay information horse saying, &amp;quot;Today you are going back to the government, and I am slightly ready.&lt;br /&gt;
A cup of water and wine to dust, I do not know can give light false collar?&amp;quot; Jia Lian smiled: &amp;quot;How dare you! Keep it, keep it.&amp;quot; One side of the girl and all the maids see the graduation, offer tea.&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
贾琏遂问别后家中诸事，又谢凤姐的操持辛苦。凤姐道：“我那里管得这&lt;br /&gt;
些事来！见识又浅，口角又笨，心肠又直率，‘人家给个棒槌，我就认作针’。脸又软，搁不住人家给两句好话，心里就慈悲了。况且又没经过大事，胆子又小，&lt;br /&gt;
太太略有些不自在，就连觉也睡不着了。我苦辞过几回，太太又不许，倒说我图&lt;br /&gt;
受用，不肯学习。殊不知我是捻着一把汗呢。一句也不敢多说，一步也不敢妄&lt;br /&gt;
行。你是知道的，咱们家所有的这些管家奶奶，那一个是好缠的？错一点儿他&lt;br /&gt;
们就笑话打趣，偏一点儿他们就‘指桑说槐’的抱怨；‘坐山看虎斗’，‘借刀杀人’，‘引风吹火’，‘站干岸儿’，‘推倒油瓶不扶’，都是全挂子的武艺。况且我年纪轻，不压人，怨不得不放我在眼里。更可笑那府里蓉儿媳妇死了，珍大哥再三在太太跟前跪着讨情，只要请我帮他几日；我是再四推辞，太太做情允了，只得从命，依旧被我闹了个马仰人翻，更不成个体统，至今珍大哥还抱怨后悔呢。你明儿见了他，好歹描补描补，就说我年纪小，原没见过世面，谁叫大爷错委了他。”&lt;br /&gt;
&lt;br /&gt;
Jia Lian then asked about other family matters, and after asking, he thanks Sister Feng for her hard work in helping him with his family affairs. Sister Feng said, &amp;quot;how can I manage these things! I'm not good at words. I'm straightforward. &amp;quot;If someone gives me a mallet, I'll take it as a needle.&amp;quot;. My ears are soft, I can't resist a few good words, and my heart is soft. Besides, I haven't experienced any major events, and I'm timid. As long as my wife is a little uncomfortable, I can't even sleep well. I refused several times, but my wife didn't agree. On the contrary, she said that I only like to enjoy the comfort and refuse to study. But she did not know that I was holding a sweat, did not dare to say a word, did not dare to step out without authorization. As you know, which of all the old housekeepers in our family is a good talker? If you do something wrong, they will make fun of you. If you do something eccentric, they will complain‘ It's not easy to get into trouble when you're lazy enough to sit in the mountains and watch the tiger fight, kill people with a knife, start a fire and stand by. Besides, I'm too young to hold people down. They don't pay attention to me. But brother Rong's daughter-in-law died in Xiaofu. Brother Zhen knelt down in front of his wife again and again, asking me to help him for a few days; I refused several times. Finally, my wife agreed with me. I had to obey my orders. But in the end, I still made a fuss, which was even more out of order. Up to now, brother Jane still complains and regrets. If you see him tomorrow, you can help me to talk. You just say that I'm young and I haven't seen the world. let the moster wronged him. &amp;quot;&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
说着，只听外间有人说话，凤姐便问：“是谁？”平儿进来回道：“姨太太打发了香菱妹子来问我一句话，我已经说了，打发他回去了。”贾琏笑道：“正是呢，我方才见姨妈去，和一个年轻的小媳妇子撞了个对面，生得好齐整模样。我疑惑咱家并无此人，说话时问姨蚂，方知道是上京买来的小丫头，名叫什么‘香菱’的，竟与薛大傻子作了房里的人，开了脸，越发出挑的标致了。那薛大傻子真玷辱了他。”凤姐道：“哎！往苏杭走了一趟回来，也该见些世面了，还是这样眼馋肚饱的。你要爱他，不值什么，我拿平儿去换了他来如何？那薛老大也是‘吃着碗里瞧着锅里’的，这一年来的光景，他为香菱儿不能到手，和姨妈打了多少饥荒。那姨妈看着香菱模样儿好还是小事，其为人行事，更又比别的女孩子不同，温柔安静，差不多的主子姑娘还跟不上他，故此摆酒请客的费事，明堂正道与他做了妾。过了没半月，也看的没事人一大堆了。我倒心里可惜他。”一语&lt;br /&gt;
未了，二门上小厮传报：“老爷在大书房等二爷呢。”贾琏听了，忙忙整衣出去。&lt;br /&gt;
&lt;br /&gt;
Just then they heard voices outside and Splendid Phoenix King asked who was there. Patience came in and said, &amp;quot;Aunt Marshgrass sent Wiselotus Potterymaker over to ask me something. I’ve given her an answer and sent her back.” “That reminds me,” said Romance Merchant. “When I called on Aunt Marshgrass just now, I ran into a very handsome young woman whom I didn’t think belonged to our household and wondered who she could be. In the course of conversation I learned she’s the girl they bought just before coming to the capital. Her name’s Wiselotus Potterymaker. She belongs to that imbecile Marshgrass now, and since he made her his concubine and her face has been slicked she’s grown even lovelier. She’s too good for that silly fool.” “Well!” exclaimed Splendid Phoenix King. “I should have thought you’d have seen enough of the world now that you’re back from a trip to Suzhou and Hangzhou, but you’re never satisfied. If you love her, that’s simple: I’ll exchange our Patience for her how about that? Dragon Marshgrass is another of those greedy-guts who keep ‘one eye on the bowl and the other on the pan.’ Look how he plagued his mother for a whole year just to get hold of Splendid Phoenix King . It’s because Aunt Marshgrass saw she’s not only pretty but really well-behaved, being even gentler and quieter than most young ladies, that she went to all the trouble of inviting guests to a feast to make her his concubine in proper style. Yet in less than a fortnight he’s treating her like dirt. It’s really too bad.”At this point a page from the inner gate reported that Master Merchant was waiting for Romance Merchant in the big library. The young man hastily straightened his clothes and went out.&lt;br /&gt;
&lt;br /&gt;
--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 05:47, 9 June 2021 (UTC)&lt;br /&gt;
Just then they heard voices from outside and Sister Phoenix asked who was there. Patience came in and said, &amp;quot;Aunt Marshgrass sent Wiselotus Potterymaker over to ask me something. I’ve given her an answer and sent her back.” “That reminds me,” said Romance Merchant. “When I called on Aunt Marshgrass just now, I ran into a very handsome young woman whom I didn’t think belonged to our household and wondered who she could be. In the course of conversation I learned she’s the girl they bought just before coming to the capital. Her name’s Wiselotus Potterymaker. She belongs to that imbecile Marshgrass now, and since he made her his concubine, her face has been slicked and she’s grown even lovelier. She’s too good for that silly fool.” “Well!” exclaimed Sister Phoenix. “I should have thought you’d have seen enough of the world now that you’re back from a trip to Suzhou and Hangzhou, but you’re never satisfied. If you love her, that’s simple: I’ll exchange our Patience for her. How about that? Dragon Marshgrass is another of those greedy-guts who keep ‘one eye on the bowl and the other on the pan.’ Look how he plagued his mother for a whole year just to get hold of Wiselotus Potterymaker. It’s because Aunt Marshgrass saw she’s not only pretty but really well-behaved, being even gentler and quieter than most young ladies, that she went to all the trouble of inviting guests to a feast to make her his concubine in proper style. Yet in less than a fortnight he’s treating her as dirt. It’s really too bad.”At this point a page from the inner gate reported that Master Merchant was waiting for Romance Merchant in the big library. Romance Merchant hastily straightened his clothes and went out.&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
这里凤姐乃问平儿：“方才姨妈有什么事，巴巴儿的打发香菱来？”平儿道：&lt;br /&gt;
“那里来的香菱，是我借他暂撒个谎儿。奶奶你说，旺儿嫂子越发连个成算也&lt;br /&gt;
没了。”说着，又走至凤姐身边，悄悄说道：“奶奶的那利银迟不送来，早不送来，这会子二爷在家，他偏送这个来了。幸亏我在堂屋里磞见，不然他走了来回奶奶，二爷少不得要知道，我们二爷那脾气，油锅里的还要捞出来花呢，知道奶奶有了体己，他还不大着胆子花么？所以我赶着接过来，教我说了他两句，谁知奶奶偏听见了。我故此当着二爷面前只说香菱儿来了。”凤姐听了笑道：“我说&lt;br /&gt;
呢，姨妈知道你二爷来了，忽剌巴的反打发个房里人来了，原来你这蹄子闹鬼！”&lt;br /&gt;
&lt;br /&gt;
说着贾琏已进来了，凤姐命摆上酒馔来，夫妻对坐。凤姐虽善饮，却不敢任兴，只陪侍着。见贾琏的乳母赵嬷嬷走来。贾琏凤姐忙让吃酒，令其上炕去。&lt;br /&gt;
&lt;br /&gt;
Here Sister Phoenix asked Ping: &amp;quot;What’s your aunt’s problem? She had anxiously sent Xiang Ling here.&amp;quot; Ping said:&amp;quot; Nothing to do with Xiang Ling. Just I told a lie on his account. Tell me, grandmother, sister-in-law Wang is getting worse and worse.&amp;quot; Saying this, then she went to Sister Phoenix and whispered,&amp;quot; Madam’s sliver of interest is sent here neither later nor earlier, sent this moment when second master is at home. T hanks to my coming across him, otherwise if he walked back to see Madam, he must know it. What is the temper of our second master? He would get it even out of a frying pan to spend it. Knowing that Madam has an intimate, he may spend silver audaciously? So I rushed to take over slver, and complains of he with words. It’s surprising that Madam heard it casually. Thus, in front of the second master, I just said that Xiang Ling had come.&amp;quot; Sister Phoenix laughed and said: &amp;quot;Oh Aunt knew the second master coming, suddenly stabbed of the contrary sent a room person to come. It was because that you this hoof made a trick!&amp;quot;&lt;br /&gt;
Jia Lian had already come in. Sister Phoenix ordered to set up alcoholic drink and dishes. The couple sat down to each other. Though Sister Phoenix is good at drinking, she did not dare to leave by herself but to keep company. Seeing Jia Lian’s nurse， Nanny Zhao，coming, Sister Phoenix invited Jia Lian to sit on the Kang, and drink some alcohol.&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
赵嬷嬷执意不肯。平儿等早于炕沿设下一几，又有小脚踏，赵嬷嬷在脚踏上坐了，贾琏向桌上拣两盘肴馔与他，放在几上自吃。凤姐又道：“妈妈很嚼不动那个，没的倒硌了他的牙。”因问平儿道：“早起我说那一碗火腿炖肘子很烂，正好给妈妈吃，你怎么不拿了去赶着叫他们热来？”又道：“妈妈，你尝一尝你儿子带来的惠泉酒。”赵嬷嬷道：“我喝呢，奶奶也喝一钟。怕什么？只不要过多了就是了。我这会子跑了来，倒也不为酒饭，倒有一件正经事，奶奶好歹记在心里，疼顾我些罢！我们这爷，只是嘴里说的好，到了跟前就忘了我们。幸亏我从小儿奶了你这么大。我也老了，有的是那两个儿子，你就另眼照看他们些，别人也不敢呲牙儿的。我还再三的求了你几遍，你答应的倒好，如今还是燥屎。这如今又从无上跑出这样一件大喜事来，那里用不着人？所以倒是来和奶奶说是正经。靠着我们爷，只怕我还饿死了呢。&lt;br /&gt;
&lt;br /&gt;
But Nanny Walk was obstinate in her refusal. Patience and the other waiting-maids had placed a square stool next to the edge of the couch at an early hour, and there was a small footstool, and Nanny Walk took a seat on this footstool, whereupon Romance Merchant chose two dishes of delicacies from the table which he handed her and placed on the square stool for her won use. &amp;quot;Nanny Walk,&amp;quot; Sister Phoenix remarked, &amp;quot;couldn't bite through that very well, as it might make her teeth drop! This morning,&amp;quot; therefore she asked Patience, &amp;quot;I supposed that the shoulder of pork stewed with ham was so tender as it could be given to Nanny Walk to eat, and how come you haven't taken it over to her? Also, tell them to warm it and bring it in!&amp;quot; she went on, &amp;quot;Nanny Walk, you should taste this Kindness-Spring wine that brought by your foster-son.&amp;quot; &amp;quot;I'll drink it,&amp;quot; replied Nanny Walk, &amp;quot;but you, my lady, must also have a cup: what is there to be afraid of? As long as there is not any excess, that's all! But the reason I have come over, not for any wine and eatables; in contrast, there is a serious matter which I would ask for your ladyship to impress on your mind and to show me some regard, for this master of ours is only good to say some fine words, but when the time does come, he will forget all about us! As I have had the good fortune to nurse him in his infancy and bring him up to this age, I have grown old in years too, and all that belong to me are those two sons, also do look upon them with some favor! With anyone else, I shouldn't have ventured to open my mouth, but him, I will implored on several occasions anyway. Your assent was of course good, but up to those very moments he still withholds his help. Now, besides from the heavens has dropped such a piece of good luck, and in what place will there be no need of servants? That is why I come to tell you, my lady, as is right, for I were to depend upon our master, I am afraid that I shall even die of starvation.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
But Nanny Walk was obstinate in her refusal. Patience and the other waiting-maids had placed a square stool next to the edge of the couch at an early hour, and there was a small footstool, and Nanny Walk took a seat on this footstool, whereupon Romance Merchant chose two dishes of delicacies from the table which he handed her and placed on the square stool for her won use. &amp;quot;Nanny Walk,&amp;quot; Sister Phoenix remarked, &amp;quot;couldn't bite through that very well, as it might make her teeth drop! This morning,&amp;quot; therefore she asked Patience, &amp;quot;I supposed that the shoulder of pork stewed with ham was so tender as it could be given to Nanny Walk to eat, and how come you haven't taken it over to her? Also, tell them to warm it and bring it in!&amp;quot; she went on, &amp;quot;Nanny Walk, you should taste this Kindness-Spring wine that brought by your foster-son.&amp;quot; &amp;quot;I'll drink it,&amp;quot; replied Nanny Walk, &amp;quot;but you, my lady, must also have a cup: what is there to be afraid of? As long as there is not any excess, that's all! But the reason I have come over, not for any wine and eatables; in contrast, there is a serious matter which I would ask for your ladyship to impress on your mind and to show me some regard, for this master of ours is only good to say some fine words, but when the time does come, he will forget all about us! As I have had the good fortune to nurse him in his infancy and bring him up to this age, I have grown old in years too, and all that belong to me are those two sons, also do look upon them with some favor! With anyone else, I shouldn't have ventured to open my mouth, but him, I will be implored on several occasions anyway. Your assent was of course good, but up to those very moments he still withholds his help. Now, besides from the heavens has dropped such a piece of good luck, and in what place will there be no need of servants? That is why I come to tell you, my lady, as is right, for I were to depend upon our master, I am afraid that I shall even die of starvation.&amp;quot;--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 11:12, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
凤姐笑道：“妈妈，你的两个奶哥哥都交给我。你从小儿奶的儿子还有什么不知他那脾气的？拿着皮肉倒往那不相干的外人身上贴。可见现放着奶哥哥那一个不比人强？你疼顾照看他们，谁敢说个‘不’字儿？没的白便宜了外人。我这话也说错了，我们看着是‘外人’，你却看着是‘内人’一样呢。”说着，满屋里人都笑了。赵嬷嬷也笑个不住，又念佛道：“可是屋子里跑出青天来了。要说‘内人’‘外人’这些混账缘故，我们爷是没有；不过是脸软心慈，搁不住人求两句罢了。”凤姐笑道：“可不是呢，有‘内人’的他才慈软呢，他在咱们娘儿们跟前才是刚硬呢！”赵嬷嬷道：“奶奶说的太尽情了，我也乐了，再吃一杯好酒。从此我们奶奶做了主，我就没的愁了。”&lt;br /&gt;
&lt;br /&gt;
Xifeng laughed, &amp;quot;Just leave two foster-brothers to me, nanny. You know what he's like since you nursed him from babyhood. He goes out of his way to help complete strangers, people nowhere near as deserving as his two foster-brothers. Who could possibly object if he did something for them? But he just favors outsiders. Well, perhaps I shouldn’t say that. The people we consider outsiders are ‘in’ with him.” That raised a general laugh. Nanny Zhao chortled as ifs she would never stop. Then she said: “So here comes an impartial judge. Our master would be so cruel as to treat us as outsiders: but he's so kind-hearted he can’t say “no” to other people's requests to him. It's only to us womenfolk that he is adamant.” Xifeng laughed, “Oh yes, he’s very soft and generous to those “in” with him. It’s only to us womenfolk that he’s adamant.” “You've been so good, madam, and made me so happy that I’ll have another cup of that excellent wine. Now that I've got you to look after us, I needn't worry anymore.” Nanny Zhao replied.&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix laughed, &amp;quot;Just leave two foster-brothers to me, nanny. You know what he's like since you nursed him from babyhood. He goes out of his way to help unrelated strangers, none of whom deserves but the foster-brothers. Who could possibly object if he did something for them? But he just favors outsiders. Well, perhaps I shouldn’t say that. The people we consider outsiders are ‘insiders’ with him.” All the people inside burst into laughter. Nanny Zhao chortled as if she would never stop. Then she said: “So here comes an impartial judge. Our master would be so cruel as to treat us as outsiders: but he's so kind-hearted he can’t say “no” to other people's requests. It's only to us womenfolk that he is adamant.” Xifeng laughed, “Oh yes, he’s very soft and generous to those “in” with him. It’s only to us womenfolk that he’s adamant.” “You've been so good, madam, and made me so happy that I’ll have another cup of that excellent wine. Now that I've got you to look after us, I needn't https://wiki.ruhr-uni-bochum.de/skins/common/images/button_hr.pngworry anymore.” Nanny Zhao replied.--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 05:15, 31 March 2021 (UTC)&lt;br /&gt;
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Sister Phoenix laughed, &amp;quot;Just leave two foster-brothers to me, nanny. You know what he's like since you nursed him from babyhood. He goes out of his way to help complete strangers,  none of whom deserves but the foster-brothers. Who could possibly object if he did something for them? But he just favors outsiders. Well, perhaps I shouldn’t say that. The people we consider outsiders are ‘insiders' with him.&amp;quot; All the people inside burst into laughter. Nanny Walk chortled as if she would never stop. Then she said: “So here comes an impartial judge. Our master would be so cruel as to treat us as outsiders: but he's so kind-hearted he can’t say “no” to other people's requests. It's only to us womenfolk that he is adamant.” Splendid Phoenix laughed, “Oh yes, he’s very soft and generous to those “insiders” with him. It's only to us womenfolk that he's adamant.” “You've been so good, madam, and made me so happy that I’ll have another cup of that excellent wine. Now that I've got you to look after us, I needn't worry anymore.”Nanny Walk replied.&lt;br /&gt;
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--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 16:34, 26 April 2021 (UTC)&lt;br /&gt;
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=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
贾琏此时没好意思，只是讪笑道：“你们别胡说了，快盛饭来吃，还要往珍&lt;br /&gt;
大爷那边去商议事呢。”凤姐道：“可是，别误了正事。刚才老爷叫你说什么？”&lt;br /&gt;
贾琏道：“就为省亲的事。”凤姐忙问道：“省亲的事竟准了？”贾琏笑道：“虽不十分准，也有八九分了。”凤姐笑道：“可见当今的隆恩呢！历来听书看戏，古时从来未有的。”赵嬷嬷又接口道：“可是呢，我也老糊涂了。我听见上上下下吵嚷了这些日子，什么省亲不省亲，我也不理论他去；如今又说省亲，到底是怎么个缘故？”贾琏道：“如今当今体贴万人之心，世上至大莫如‘孝’字，想来父母儿女之性，皆是一理，不在贵贱上分的。当今自为日夜侍奉太上皇、皇太后，尚不能略尽孝意，因见宫里嫔妃才人等皆是入宫多年，抛离父母，岂有不思想之理？&lt;br /&gt;
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Jia Lian was shy and pretended to smile, “Don’t talk nonsense any more. You’d better go to fill a bowl with rice and eat, because we are going to Cousin Zhen’s place to discuss something important. Xi Feng said, “So we are. Do not delay the matters. What did master ask you to say?” Jia Lian replied, “Just the matter of visiting parents.” Xi Feng hastened to ask, “The matter was permitted?” Jia Lian smiled, “Almost.” Xi feng laughed, “ You can see the grace of the empire. I have never heard such  thing in history even if I listened to so much storytelling or watched so much theatre.” Mammy Zhao asked immediately, “There are so much words about the visiting parents in the mansion these days. I didn’t care about it. Now it is mentioned again. So what on earth does it for?” Jia Lian answered, “ The empire cares his people.There is no such thing as important as filial piety in the world, which is the same for all families, without any difference between the gentle and simple. The empire serves his parents day and night and is afraid not to exert his filial piety. Considering that all the concubines in the imperial place have been in the palace for years, leaving their parents at home, there is no reason for the them not to miss their parents.&lt;br /&gt;
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Jia Lian was shy and pretended to smile, “No nonsense any more. Fill a bowl with rice quickly, and we are going to Cousin Zhen’s place to discuss something important. Xi Feng said, “So we are. Do not delay the matters. What did master ask you to say?” Jia Lian replied, “Just the matter of visiting parents.” Xi Feng hastened to ask, “The matter was permitted?” Jia Lian smiled, “Almost.” Xi feng laughed, “ You can see the grace of the empire. I have never heard such  thing in history even if I listened to so much storytelling or watched so much theatre.” Mammy Zhao asked immediately, “There are so much words about the visiting parents in the mansion these days. I didn’t care about it. Now it is mentioned again. So what on earth does it for?” Jia Lian answered, “ The empire cares his people.There is no such thing as important as filial piety in the world, which is the same for all families, without any difference between the gentle and simple. The empire serves his parents day and night and is afraid not to exert his filial piety. Considering that all the concubines in the imperial place have been in the palace for years, leaving their parents at home, there is no reason for the them not to miss their parents.   ——Li Yihao&lt;br /&gt;
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=Lǐ Yìhào 李艺浩=&lt;br /&gt;
且父母在家，思想女儿，不能一见，倘因此成疾，亦大伤天和之事，故启奏上皇、太后，每月逢二六日期，准其椒房眷属入官请候省视。于是太上皇、皇太后大喜，深赞当今至孝纯仁，体天格物。因此二位老圣人又下旨谕说：椒房眷属入宫，未免有关国体仪制，母女尚未能惬怀。竟大开方便之恩，特降谕诸椒房贵戚，除二六日入官之恩外，凡有重宇别院之家，可以驻跸关防者，不妨启请内廷銮舆人其私第，庶可尽骨肉私情，共享天伦之乐事。此旨下了，谁不踊跃感戴？现今周贵妃的父亲已在家里动了工，俺盖省亲的别院呢。又有吴贵妃的父亲吴天祐家，也往城外踏看地方去了。这岂非有八九分了？”&lt;br /&gt;
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And parents at home missed their daughter, but they had no way to see their child. If this leads to parents' disease, it also harmed the morality greatly. So Emperor requested his father and his mother to allow her relatives to visit her into the palace six days. So emperor's father and his mother was very joyful and appreciated his for kindness, filial piety and comformation to God. So the two old sage decreed, written this thing was about our etiquette system and can not be satisfied. As a result, specially ordered her family into the palace except six days. And if there was other large and great houses and could be stationed, imperial concubine might wish to order servants to send them into the private with expressing miss and sharing family happiness. Under this order, who would be not grateful? Now the father of Zhou who was highest-ranking imperial concubine started to the house and the family of Wu Tianyou who was the father of Wu who was highest-ranking imperial concubine had gone out of the city to find the place. This had a great possibility.&lt;br /&gt;
         ——Li Yihao&lt;br /&gt;
And parents missed their daughter, but they had no way to see their child. Then he thought what a crime against nature it would be if these parents were to become ill for not seeing their daughters. So he requested the Ex-Emperor and Ex-Empress to allow the families of palace ladies to visit them in the palace on the twelfth day of every month.So the Ex-Emperor and Ex-Empress was very joyful and appreciated for his kindness, filial piety, and ”doing Heaven’s work among men”. So they decreed that  when the families of palace ladies came to the Palace for these visits, inevitably they would be hampered to the etiquette system as well as their natural feelings. As a result, the Emperor specially issued a decree except the visit in the Palace on the twelfth day. He allowed any family which had a separate houses and could be stationed, imperial concubine might wish to order servants to send them into the private with expressing miss and sharing family happiness. This decree has created quite a stir. Now Concubine Lady Zhou’s father starts to build a wing in his house for visitations,  and Lady Wu’s father, Wu Tianyou, has gone outside the city to site for this, and maybe it has settled for eight or nine parts.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 23:54, 30 March 2021 (UTC)Liu Tingyang&lt;br /&gt;
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=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
赵嬷嬷道：“阿弥陀佛！原来如此。这样说起，咱们家也要预备接大小姐&lt;br /&gt;
了？”贾琏道“这何用说？不然这会子忙的是什么？”凤姐笑道：“果然如此，我可也见个大世面了。可恨我小几岁年纪，苦早生二三十年，如今这些老人家也&lt;br /&gt;
不薄我没见世面了。说起当年太祖皇帝仿舜巡的故事，比一部书还热闹，我偏&lt;br /&gt;
没造化赶上。”赵嬷嬷道：“嗳哟！那可是千载希逢的！那时候我才记事儿，咱&lt;br /&gt;
们贾府正在姑苏扬州一带监造海船，修理海塘，只预备接驾一次，把银子花的像&lt;br /&gt;
淌海水似的！说起来……”凤姐忙接道：“我们王府里也预备过一次。那时我&lt;br /&gt;
爷爷专管各国进贡朝贺的事，凡有外国人来，都是我们家养活。粤、闽、滇、浙所有的洋船货物都是我们家的。”&lt;br /&gt;
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“Amitabha Buddha!” said Nannie Zhao. “So that’s what it is! Speaking of this, I suppose that we shall soon be getting ready to receive our young lady?’ “Definitely.What else do you think we’re busy for?”Said Jia Lian.Xi-feng laughed and said:“If we finish it, it is a great experience for me to get through. Unfortunate for my young age. Only if I’d been born twenty or thirty years, those elders would not regard me as an inferiority as now. I heard about that the Emperor Tai-zu’s Southern Progress is much interesting than a novel. How I wish I could be there to see all of them!”&amp;quot;Ah, I know!&amp;quot; said Nannie Zhao. &amp;quot;That’s a sort of thing that scarce comes once in a thousand years! In those days, as I was in an age that I could remember, the Jia family was the superintendent of shipyards and repairing sea pond in the Gusu-Yangzhou Area. The way they spent silver on that visit of the Emperor, it was like pouring out sea water! In fact...&amp;quot; Xi-feng cut her short promptly: &amp;quot;We Wang palace prepare to receive the Emperor once too. At that time, my grandfather was in charge of all the foreign tribute to the Court. As those foreigners arrived, it was always my family to receive them. All the foreign goods of Kwangtung, Fukien, Yunnan and Chekiang are passed through our hands.&amp;quot; --[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:28, 27 March 2021 (UTC)Liu Tingyang&lt;br /&gt;
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“Amitabha Buddha!” said Nannie Zhao,“So that’s what it is! Speaking of this, I suppose that we shall soon be getting ready to receive our young lady?&amp;quot; “Definitely.What else do you think we’re busy for?”said Jia Lian. Xi-feng laughed and said:“If we finish it, it is a great experience for me to get through. Unfortunate for my young age. Only if I’d been born twenty or thirty years earlier, those elders would not regard me as an inferiority now. I heard about that the Emperor Tai-zu's Southern Progress which imitated Shun's is much more interesting than a novel's plot. What a pity that I don't have the fortune to see all of those things.”&amp;quot;Ah, I know!&amp;quot; said Nannie Zhao, &amp;quot;That’s a sort of thing that scarce occurs once in a thousand years! In those days, as I was at an age when I began to memorize something, the Jia family was the superintendent of shipyards and repairing sea pond in Gusu-Yangzhou Area. The way they spent silver on that visit of the Emperor was like pouring out sea water! In fact...&amp;quot; Xi-feng cut her short promptly, &amp;quot;We Wang Mansion prepared to receive the Emperor once, too. At that time, my grandfather was in charge of all the foreign tribute to the Court. As those foreigners arrived, it was always my family to receive them. All the foreign goods of Kwangtung, Fukien, Yunnan and Chekiang were passed through our hands.&amp;quot;--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 13:56, 27 March 2021 (UTC)&lt;br /&gt;
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“Amitabha Buddha!” said Nanny Walk,“So that’s what it is! Speaking of this, I suppose that we shall soon be getting ready to receive our young lady?&amp;quot; “Definitely.What else do you think we’re busy for?”said Romance Merchant. Splendid Phoenix King laughed and said:“If we finish it, it is a great experience for me to get through. Unfortunate for my young age. Only if I’d been born twenty or thirty years earlier, those elders would not regard me as an inferiority now. I heard about that the Emperor Tai-zu's Southern Progress which imitated Shun's is much more interesting than a novel's plot. What a pity that I don't have the fortune to see all of those things.”&amp;quot;Ah, I know!&amp;quot; said Nanny Walk, &amp;quot;That’s a sort of thing that scarce occurs once in a thousand years! In those days, as I was at an age when I began to memorize something, the Jia family was the superintendent of shipyards and repairing sea pond in Gusu-Yangzhou Area. The way they spent silver on that visit of the Emperor was like pouring out sea water! In fact...&amp;quot; Splendid Phoenix King cut her short promptly, &amp;quot;We Wang Mansion prepared to receive the Emperor once, too. At that time, my grandfather was in charge of all the foreign tribute to the Court. As those foreigners arrived, it was always my family to receive them. All the foreign goods of Kwangtung, Fukien, Yunnan and Chekiang were passed through our hands.&amp;quot;--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 11:55, 27 April 2021 (UTC)&lt;br /&gt;
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=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
赵嬷嬷道：“那是谁不知道的？如今还有个口号儿呢，说‘东海少了白玉&lt;br /&gt;
床，龙王来请江南王。’这说的就是奶奶府上了。如今还有现在江南的甄家，噯&lt;br /&gt;
哟哟！好势派！独他家接驾四次，若不是我们亲眼看见，告诉谁也不信的。别&lt;br /&gt;
讲银子成了土泥，凭是世上有的，没有不是堆山积海的。‘罪过可惜’四个字竟&lt;br /&gt;
顾不得了。”凤姐道：“我常听见我们太爷说，也是这样的。岂有不信的？只纳&lt;br /&gt;
罕他家怎么就这样富贵呢？”赵嬷嬷道：“告诉奶奶一句话，也不过拿着皇帝家&lt;br /&gt;
的银子往皇帝身上使罢了！谁家有那些钱买这个虚热闹去？”&lt;br /&gt;
正说着，王夫人又打发人来瞧凤姐吃完了饭不曾。凤姐便知有事等他，忙&lt;br /&gt;
忙的吃了饭，漱口要走，又有二门上小厮们回：“东府里蓉蔷二位哥儿来了。”&lt;br /&gt;
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Mammy Zhao said, “Who doesn’t know that? There is a slogan even in these days. It is said that ‘ there is no white jade bed in East Sea and the Dragon King comes to invite the King of south of the Yangtze River.’ This describes your family. Nowadays, there is the Zhen Family in the regions south of the Yangtze River. Ooh ooh ooh! So grand! Only they have welcomed the emperor to their home four times. If we didn’t see it in person, no one would believe. Don’t talk about silver becoming just like mud, there is nothing that does not pile up in their home. No one thinks excess guilty.” Lady Phoenix said, “I often heard that from my grandfather, just as same as you said. Does anyone not believe? I only feel puzzled why they are so wealthy?” Mammy Zhao said, “I’d like to tell you one thing. They just spent their money earned from the emperor on the emperor. Who has the money to buy the pompous buzz?” when they are chatting, Lady Wang sent someone to see whether Lady Phoenix had finished her dinner or not again. Lady Phoenix knew there was something waiting for her. She hurried to finish her dishes and rinse her mouth and she was going to set out. There were two doorkeepers coming to report that Lotus Jia and Rose Jia two of East Mansion came here.&lt;br /&gt;
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Mammy Zhao said, “Who doesn’t know that? There is a slogan even in these days. It is said that ‘ there is no white jade bed in the East Sea and the Dragon King comes to invite the King of south of the Yangtze River.’ This describes your family. Nowadays, there is the Zhen Family in the regions south of the Yangtze River. Ooh, ooh, ooh! So grand! Only they have welcomed the emperor to their home four times. If we didn’t see it in person, no one would believe it. Don’t talk about silver becoming just like mud, there is nothing that does not pile up in their home. No one thinks excess guilty.” Lady Phoenix said, “I often heard that from my grandfather, just the same as you said. Does anyone not believe that? I only feel puzzled about why they are so wealthy?” Mammy Zhao said, “I’d like to tell you one thing. They just spent their money earned from the emperor on the emperor. Who has the money to buy the pompous buzz?” When they were chatting, Lady Wang sent someone to see whether Lady Phoenix had finished her dinner or not again. Lady Phoenix knew there was something waiting for her. She hurried to finish her dishes and rinse her mouth and she was going to set out. There were two doorkeepers coming to report that Lotus Jia and Rose Jia, two of East Mansion, came here.&lt;br /&gt;
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--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 11:07, 30 March 2021 (UTC)&lt;br /&gt;
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Nanny Zhao said, “Who doesn’t know that? There is a slogan even in these days. It is said that ‘ there is no white jade bed in East Sea and the Dragon King comes to invite the King of south of the Yangtze River.’ This describes your family. Nowadays, there is the Zhen Family in the regions south of the Yangtze River. Ooh ooh ooh! So grand! Only they have welcomed the emperor to their home four times. If we didn’t see it in person, no one would believe. Don’t talk about silver becoming just like mud, there is nothing that does not pile up in their home. No one thinks excess guilty.” Splendid Phoenix said, “I often heard that from my grandfather, just as same as you said. Does anyone not believe? I only feel puzzled why they are so wealthy?” Nanny Zhao said, “I’d like to tell you one thing. They just spent their money earned from the emperor on the emperor. Who has the money to buy the pompous buzz?” when they are chatting, Lady Wang sent someone to see whether Splendid Phoenix had finished her dinner or not again. Splendid Phoenix knew there was something waiting for her. She hurried to finish her dishes and rinse her mouth and she was going to set out. There were two doorkeepers coming to report that Lotus Jia and Rose Jia two of East Mansion came here.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 14:10, 24 April 2021 (UTC)&lt;br /&gt;
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=Péng Jiāyù 彭佳钰=&lt;br /&gt;
贾琏才漱了口，平儿捧着盆盥手，见他二人来了，便问：“说什么话？”凤姐因亦止步，只听贾蓉先回说：“我父亲打发我来回叔叔：老爷们已经议定了，从东边一带，接着东府里花园起，至西北，丈量了，一共三里半大，可以盖造省亲别院了。已经传人画图样去，明日就得。叔叔才回家，未免劳乏，不用过我们那边去，有话明日一早再请过去面议。”贾琏笑说：“多谢大爷费心，体谅我，就从命不过去了。正经是这个主意，才省事，盖造也容易；若采置别的地方去，那更费事，且倒不成体统。你回去说，这样很好，若老爷们再要改时，全仗大爷谏阻，万不可另寻地方。明日一早，我给大爷请安去，再议细话。”贾蓉忙应几个“是”。&lt;br /&gt;
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贾蔷又近前回说：“下姑苏请聘教习，采买女孩子，置办乐器行头等事，大&lt;br /&gt;
爷派了侄儿，带领着来管家两个儿子，还有单聘仁、卜固修两个清客相公，一同&lt;br /&gt;
前往，所以命我来见叔叔。”贾琏听了，将贾蔷打量了打量，笑道：“你能够在行么？这个事虽不甚大，里头却有藏掖的。”贾蔷笑道：“只好学着办罢了。”&lt;br /&gt;
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Just at the time Jia Lian rinsed his mouth and Pinger brought him a basin to wash his hands,these two people came in. He asked what they wanted, and Xifeng stayed to hear Jia Rong's reply: “My father sent me to tell you, uncle, that the old gentlemen had settled on a plan. We’ve measured the distance from the east wall through the garden of the East Mansion to the north, and it comes to three and a half, enough to build a separate court for the visit. Someone has been commissioned to draw a plan which should be ready tomorrow. Since you must be tired after your journey, please don’t think of coming over. If you’ve any proposals, you can make them first thing tomorrow.” “Kindly thank your father for his consideration,” replied Jia Lian. “I shall do as what he says and not call on him now. This is the best possible scheme, and the easiest and the simplest one to carry out. Any other site would entail more work without such good results. Tell him when you get back that I thoroughly approve, and if the old gentlemen have second thoughts, I hope he will dissuade them from looking for another site. When I come tomorrow to pay my respects, we can talk about it in detail.” Jia Rong agreed at once to pass on this message.&lt;br /&gt;
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Jia Qiang now stepped forward to announce, “My uncle has given me the job of going to Suzhou with Lai Da's two sons and the two secretaries, Shan Pingren and Bu Guxiu. We’re going to hire instructors, buy girl actresses and musical instruments and costumes there. He told me to let you know.” Jia Lian looked quizzically at the young man and asked, “Are you sure you're up to it? This may not be a big job, but there should be plenty of perks if you know the ropes.” “I shall have to learn,” was Jia Qiang's cheerful reply.&lt;br /&gt;
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--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 11:03, 30 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Just at the time Romance Merchant rinsed his mouth and Patience brought him a basin to wash his hands,these two people came in. He asked what they wanted, and Splendid Phoenix King stayed to hear Prosperity Merchant 's reply: “My father sent me to tell you, uncle, that the old gentlemen had settled on a plan. We’ve measured the distance from the east wall through the garden of the East Mansion to the north, and it comes to three and a half, enough to build a separate court for the visit. Someone has been commissioned to draw a plan which should be ready tomorrow. Since you must be tired after your journey, please don’t think of coming over. If you’ve any proposals, you can make them first thing tomorrow.” “Kindly thank your father for his consideration,” replied Romance Merchant. “I shall do as what he says and not call on him now. This is the best possible scheme, and the easiest and the simplest one to carry out. Any other site would entail more work without such good results. Tell him when you get back that I thoroughly approve, and if the old gentlemen have second thoughts, I hope he will dissuade them from looking for another site. When I come tomorrow to pay my respects, we can talk about it in detail.” Prosperity Merchant agreed at once to pass on this message.&lt;br /&gt;
Jia Qiang now stepped forward to announce, “My uncle has given me the job of going to Suzhou with Lai Da's two sons and the two secretaries, Shan Pingren and Bu Guxiu. We’re going to hire instructors, buy girl actresses and musical instruments and costumes there. He told me to let you know.” Jia Lian looked quizzically at the young man and asked, “Are you sure you're up to it? This may not be a big job, but there should be plenty of perks if you know the ropes.” “I shall have to learn,” was Jia Qiang's cheerful reply.&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 05:47, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
贾蓉在身傍灯影下悄拉凤姐的衣襟，凤姐会意，因笑道：“你也太操心了，&lt;br /&gt;
难道大爷比咱们还不会用人？偏你又怕他不在行了。谁都是在行的？孩子们&lt;br /&gt;
已长的这么大了，‘没吃过猪肉，也看见过猪跑’。大爷派他去，原不过是个坐&lt;br /&gt;
蠢旗儿，难道认真的叫他去讲价钱会经纪呢！依我说，很好。”贾琏道：“自然是这样。并不是我要驳回，少不得替他筹算筹算。”因问：“这一项银子动那一处的？贾蔷道：“刚才也议到这里。赖爷爷说，竟不用从京里带银子去，江南甄家还收着我们五万银子。明儿写一封书信会票我们带去，先支三万两，剩二万存&lt;br /&gt;
着，等置办彩灯花烛并各色帘帜帐幔的使用。”贾琏点头道“这个主意好。”凤&lt;br /&gt;
姐忙向贾蔷道：“既这样，我有两个在行妥当人，你就带他们去办，这个便宜了你呢。”&lt;br /&gt;
&lt;br /&gt;
Chia Jung was standing next to lady Feng， out of the light of the lamp， and stealthily pulled the lapel of her dress. Lady Feng understood the hint， and putting on a smiling expression， &amp;quot;You are too full of fears！&amp;quot; she interposed. &amp;quot;Is it likely that our uncle Chen doesn't， after all， know better than we do what men to employ， that you again give way to apprehensions that he isn't up to the mark！ but who are those who are， in every respect， up to the mark？ These young fellows have grown up already to this age， and if they haven't eaten any pork， they have nevertheless seen a pig run. If Mr. Chen has deputed him to go， he is simply meant to sit under the general's standard； and do you imagine， forsooth， that he has， in real earnest， told him to go and bargain about the purchase money， and to interview the brokers himself？ My own idea is that （the choice） is a very good one.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Of course it is！&amp;quot; observed Chia Lien； &amp;quot;but it isn't that I entertain any wish to be factious； my only object is to devise some plan or other for him. Whence will，&amp;quot; he therefore went on to ask， &amp;quot;the money required for this purpose come from？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;A little while ago the deliberations reached this point，&amp;quot; rejoined Chia Se； &amp;quot;and Mr. Lai suggested that there was no necessity at all to take any funds from the capital， as the Chen family， in Chiang Nan， had still in their possession Tls. 50，000 of our money. That he would to-morrow write a letter of advice and a draft for us to take along， and that we should， first of all， obtain cash to the amount of Tls. 30，000， and let the balance of Tls. 20，000 remain over， for the purchase of painted lanterns， and coloured candles， as well as for the outlay for every kind of portieres， banners， curtains and streamers.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Chia Lien nodded his head. &amp;quot;This plan is first-rate！&amp;quot; he added.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Since that be so，&amp;quot; observed lady Feng， as she addressed herself to Chia Se， &amp;quot;I've two able and reliable men； and if you would take them with you， to attend to these matters， won't it be to your convenience？&amp;quot;--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 09:11, 27 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
lady Feng → Lady Phoenix&lt;br /&gt;
the lapel of her dress → the corner of her dress?&lt;br /&gt;
to devise some plan or other for him → to devise some plans or some other things for him&lt;br /&gt;
Whence will，&amp;quot; he therefore went on to ask， &amp;quot;the money required for this purpose come from？&amp;quot; → he therefore went on to ask, “Where did the money come from?”--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 05:52, 31 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
贾蔷忙陪笑道：“正要和婶娘讨两个人呢，这可巧了。”因问名字。凤姐便问赵嬷嬷。彼时赵嬷嬷已听话听呆了，平儿忙笑推他，才醒悟过来，忙说：“一个叫赵天梁，一个叫赵天栋。”凤姐道：“可别忘了，我干我的去了。”说着便出去了。贾蓉忙跟出来，悄悄的向凤姐道：“婶娘要什么东西，吩咐了开个账儿给我兄弟带去。按账置办了来。”凤姐笑道：“别放你娘的屁！我的东西还没处撂呢，希罕你们鬼鬼祟祟的。”说着，一径去了。&lt;br /&gt;
&lt;br /&gt;
这里贾蔷也是问贾琏：“要什幺东西？顺便织来孝敬。”贾琏笑道：“你别兴头。才学着办事，到先学会了这把戏。短了什么，少不得写信来告诉你，且不要论到这里。”说毕，打发他二人去了。接着回事的人不止三四起，贾琏乏了，便传与二门上，一应不许传报，俱待明日料理。凤姐至三更时分方下来安歇。一宿无话。&lt;br /&gt;
&lt;br /&gt;
Rose Merchant laughed and said, &amp;quot;I'm going to beg for two people from you, my aunt. What a coincidence! &amp;quot; Then he asked for their names, and Sister Phoenix asked Nanny Walk. At that time, Nanny Walk had listened to them for a long time and started to mind-wander. Patience hurriedly pushed her with a laugh. Then she came to her mind and said, &amp;quot;One is Day Beam Walk and the other is Day Building Walk.&amp;quot; Sister Phoenix said, &amp;quot;Don't forget, and I'm going to do my job.&amp;quot; Then she went out. Prosperity Merchant hurried out and whispered to Sister Phoenix, &amp;quot;If you want anything, just give me an order to take it to my brother. I will buy it for you on account.&amp;quot; Sister Phoenix smiled: &amp;quot;No bull shit! I don't have my things in place yet and I don’t care about your sneaky stuff.&amp;quot; Saying so, she went away.&lt;br /&gt;
Here Rose Merchant also asked Romance Merchant, &amp;quot;What do you want? I’ll provide them for you in passing to express my honor to you.&amp;quot;Romance Merchant smiled and said, &amp;quot;Don't be overexcited. You are still learn how to do things, but you learn the trick first. She will write to you if she lacks of something, so don’t talk about it here.&amp;quot; Having said this, he sent them both away. Then there were more than three or four people coming to reply. Being tired, he passed it on to the porters, saying that anything should not be passed on and all should be treated tomorrow. Sister Phoenix came down to rest until the three-shift. They spent the night in silence.&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 17:23, 30 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Rose Merchant smiled apologetically, &amp;quot;I'm going to beg for two people from you, my aunt. What a coincidence!&amp;quot; Then he asked for their names, and Sister Phoenix asked Nanny Walk. At that time, Nanny Walk had listened to them for a long time and started to mind-wander. Patience hurriedly pushed her with a laughter. Then she came to her mind and said, &amp;quot;One is Day Beam Walk and the other is Day Building Walk.&amp;quot; Sister Phoenix said, &amp;quot;Don't forget, and I'm going to do my job.&amp;quot; Then she went out. Prosperity Merchant hurried out and whispered to Sister Phoenix, &amp;quot;If you want anything, just give me an order to take it to my brother. I will buy it for you on account.&amp;quot; Sister Phoenix smiled: &amp;quot;No bull shit! I don't have my things in place yet and I don’t care about your sneaky stuff.&amp;quot; Saying so, she went away.&lt;br /&gt;
Here Rose Merchant also asked Romance Merchant, &amp;quot;What do you want? I’ll provide them for you in passing to express my honor to you.&amp;quot;Romance Merchant smiled and said, &amp;quot;Don't be overexcited. You are still learn how to do things, but you learn the trick first. She will write to you if she lacks of something, so don’t talk about it here.&amp;quot; Having said this, he sent them both away. Then there were more than three or four people coming to reply. Being tired, he passed it on to the porters, saying that anything should not be passed on and all should be treated tomorrow. Sister Phoenix came down to rest until the three-shift. They spent the night in silence.&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 12:51, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
次早贾琏起来，见过贾赦贾政，便往宁国府中来，合同老管事人等，并几位世变门下清客相公，审察两府地方，缮画省亲殿宇，一面参度办理人丁。自此后，各行匠役齐全，金银铜锡以及土木砖瓦之物，搬运移送不歇。先令匠役拆宁府会芳园墙垣楼阁，直接入荣府东大院中。荣府东边所有下人一带群房已尽拆去。当日宁荣二宅，虽有一条小巷界断不通，然这小巷亦系私地，并非官道，故可以联络。会芳园本是从北墙角下引来一股活水，今亦无烦再引。其山树木石虽不敷用，贾赦住的乃是荣府旧园，其中竹树山石以及亭榭栏杆等物，皆可挪就&lt;br /&gt;
前来。如此两处又甚近，凑来一处，省许多财力，纵有不敷，所添有限。全亏一个胡老名公，号山子野，一一筹画起造。&lt;br /&gt;
The next morning, after calling on Pardon Merchant and Master Merchant, Romance Merchant went to the Ning Mansion. With some old stewards, secretaries and friends he inspected the grounds of both mansions, drew plans for the palaces for the Imperial visit and estimated the number of workers required. After that, all the  workers were assembled, and loads of supplies were bought to the site: gold, silver, copper and tin, earth, timber,bricks and tiles. Jia Lian ordered the workers to first pull down the walls and pavilions of the Garden of Concentrated Fragrance in the Ning Mansion to connect it with the large eastern court of the Rong Mansion; and all the servants’ rooms were demolished. Formerly a small alley had separated the two houses, but since this was private property and not a public road the mansions of both could contact each other. As there had been a stream ran from the northern corner of the Garden of Concentrated Fragrance, there was no need to bring in another. And though there were not enough rocks or trees, the bamboos, trees and rocks as well as the pavilions and balustrades in the original garden of Rong Mansion where Jia She lived before could bring here. The proximity of the two mansions made amalgamation easy, in addition to saving much labor and expense. On the whole, not too many new features had to be added. The whole was designed by an old landscape gardener known as Gardener Ye.&lt;br /&gt;
&lt;br /&gt;
The next morning, after calling on Pardon Merchant and Master Merchant, Romance Merchant went to the Ning Mansion. With some old stewards, secretaries and friends he inspected the grounds of both mansions, drew plans for the palaces for the Imperial visit and estimated the number of workers required. After that, all the  workers were assembled, and loads of supplies were bought to the site: gold, silver, copper and tin, earth, timber,bricks and tiles. Romance Merchant ordered the workers to first pull down the walls and pavilions of the Garden of Concentrated Fragrance in the Ning Mansion to connect it with the large eastern court of the Rong Mansion; and all the servants’ rooms were demolished. Formerly a small alley had separated the two houses, but since this was private property and not a public road the mansions of both could contact each other. As there had been a stream ran from the northern corner of the Garden of Concentrated Fragrance, there was no need to bring in another. There were not enough rocks, trees, bamboos, as well as the pavilions and balustrades in the original garden of Rong Mansion where Pardon Merchant lived before could bring here. The proximity of the two mansions made amalgamation easy, in addition to saving much labor and expense. On the whole, not too many new features had to be added. The whole was designed by an old landscape gardener known as Gardener Wild.&lt;br /&gt;
&lt;br /&gt;
--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 12:09, 29 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
贾政不惯于俗务，只凭贾赦、贾珍、贾琏、赖大、来升、林之孝、吴新登、吴新登、詹光、程日兴等几人安插摆布。堆山凿池，起楼竖阁，种竹栽花，一应点景，又有山子野制度，下朝闲暇，不过各处看望看望，最要紧处和贾赦等商议商议便罢了。贾赦只在家高卧，有芥豆之事，贾珍等或自去回明，或写略节，或有话说，便传呼贾琏赖大等来领命。贾蓉单管打造金银器皿。贾蔷已起身往姑苏去了。贾珍赖大等又点人丁，开册籍，监工等事。一笔不能写到，不过是是喧阗热闹而已。暂且无话。&lt;br /&gt;
&lt;br /&gt;
且说宝玉近因家中有这等大事，贾政不来问他的书，心中自是畅快；无奈秦钟之病，日重一日，也着实悬心，不能快乐。这日一早起来，才梳洗了，意欲回了贾母去望候秦钟，忽见茗烟在二门照壁前探头缩脑，宝玉忙出来问他：“做什么？”&lt;br /&gt;
&lt;br /&gt;
Master Merchant was not accustomed to trifles, leaving all of the affairs to Pardon Merchant, Treasure Merchant, Romance Merchant, Big Rely, Come Rise, Filial Piety Forest, Ascend Proper Wu, Light Zhan, Daily Proper Cheng and several others. To heap up rockeries, to dig ponds, to build up buildings and halls, to plant bamboos and flowers, everything connected with improving the scenery was arranged by them. Moreover, with the help of Gardener Wild, he only needed to hang around to give a look after leaving the court, and discuss the most important issues with Pardon Merchant and others. Pardon Merchant only have to lay in the house because Treasure Merchant would go and check any tiny problems, either to report it in person or to write it down for him. Or if he had anything to say, he would call for Romance Merchant, Big Rely and others to receive orders. Prosperity Merchant was only in charge of making gold and silver containers. Rose Merchant had already gone to Suzhou. While for Treasure Merchant, Big Rely, and the rest, they were asked to call out the roll with the names of the workmen, to oversee the works, and so many other trifles that caused bustle and stir.&lt;br /&gt;
&lt;br /&gt;
Master Merchant hadn't come to check the study of Precious Jade, which made him happy and relieved. However, considering the worsening health of Clock Qin, he felt uneasy at the same time. Waking up early this day, after washing his face and combing his hair, Precious Jade was panning to request Grandma Merchant's permission for visiting Clock Qin when he noticed Tealeaf peeping from the curtain-wall at the second gate. He stepped up hurriedly and asked what she was doing. &lt;br /&gt;
--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 06:18, 26 March 2021 (UTC)--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 13:42, 26 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Master Merchant was not accustomed to trifles, leaving all affairs to Pardon Merchant, Treasure Merchant, Romance Merchant, Big Rely, Come Rise, Filial Piety Forest, Ascend Proper Wu, Light Zhan, Daily Proper Cheng and several others. To heap up rockeries, to dig ponds, to build up buildings and halls, to plant bamboos and flowers, everything connected with improving the scenery was arranged by them. Moreover, with the help of Gardener Wild, he only needed to hang around to give a look after leaving the court, and discuss the most important issues with Pardon Merchant and others. Pardon Merchant only have to lay in the house because Treasure Merchant would go and check any tiny problem, either to report it in person or to write it down . Or if he had anything to say, he would call for Romance Merchant, Big Rely and others to receive orders. Prosperity Merchant was only in charge of making gold and silver containers. Rose Merchant had already set for Suzhou. While for Treasure Merchant, Big Rely, and the rest, they were asked to call out the roll with the names of the workmen, to oversee the works, and so many other trifles that caused bustle and stir.&lt;br /&gt;
&lt;br /&gt;
Recently, because of such a big event at home,Master Merchant had no time to check the study of Precious Jade, which made him happy and relieved. However, considering the worsening health of Clock Qin, he felt uneasy at the same time. Waking up early this day, after washing his face and combing his hair, Precious Jade was panning to request Grandma Merchant's permission for visiting Clock Qin when he noticed Tealeaf peeping from the curtain-wall at the second gate. He stepped up hurriedly and asked what she was doing. --[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 11:42, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
茗烟道：“秦相公不中用了！”宝玉听了，吓了一跳，忙问道：“我昨儿才瞧了他还明明白白，怎么就不中用了？”茗烟道：“我也不知道，刚才是他家的老头子特来告诉我的。”宝玉听了，忙转身回明贾母，贾母吩咐派妥当人跟去，“到那里尽一尽同窗之情就回来，不许多耽搁了。&lt;br /&gt;
&lt;br /&gt;
宝玉忙出来更衣。到外边，车犹未备，急的满厅乱转，一时催促的车到，忙&lt;br /&gt;
上了车，李贵茗烟等跟随。来到秦家门首，悄无一人，遂蜂拥至内室，唬的毒钟&lt;br /&gt;
的两个远房婶母并几个弟兄都藏之不迭。&lt;br /&gt;
&lt;br /&gt;
此时秦钟已发过两三次昏了，已易箦多时矣。宝玉一见便不禁失声。李&lt;br /&gt;
贵忙劝道：“不可，不可，秦相公是弱症，未免炕上挺扛的骨头不受用，所以暂且挪下来松散些。哥儿如此，岂不反添了他的病？”&lt;br /&gt;
&lt;br /&gt;
Tealeaf said:&amp;quot;  Childe Qin is dying!&amp;quot; Hearing it, Precious Jade was so startled that he was rushed to asked:&amp;quot; he looked healthy yesterday, what is up to him?&amp;quot; &amp;quot;I do not know, ether. it is one of his sevants who exclusively told me this just now.&amp;quot; Tealeaf said. On knowing it, Precious Jade hurridly came back to tell Grandma Merchant. And later,   Grandma Merchant ordered servants to accompany Precious Jade. “When getting there, you should just express your friendship to schoolmates and came back  without much delay”Grandma Merchant told him.Precious Jade quickly got dressed. Finding the carrige had not been prepared outside, he was anxious to turn around the full hall. When the carrige that he urged arrived, he got on quickly,  followed by Expensive Gift and Tealeaf. Arriving at the door of Qin’s house, he found there was no one, and then flocked to the inner room, which frightened  Qin`s two distant aunts and a few brothers to rush away.At this time, Clock Qin had been fainted two or three times, and also been unconscious for a long time. Precious Jade couldn't help but lost his voice at first sight.  Expensive Gift persuaded him:&amp;quot;No, no, Childe Qin is too weak to use the stiff bones on the bed. So he is removed and loosened . Would not it aggravate his illness if you do like this?--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 11:26, 27 April 2021 (UTC)--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 09:19, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Tealeaf said:&amp;quot; Qin Zhong is dying!&amp;quot; Hearing it, Precious Jade was so startled that he was rushed to asked:&amp;quot; he looked healthy yesterday, what is up to him?&amp;quot; &amp;quot;I do not know, ether. it is one of his sevants who exclusively told me this just now.&amp;quot; Tealeaf said. On knowing it, Precious Jade hurriedly came back to tell the accident to Dowager Lady Jia. And later, Dowager Lady Jia ordered servants to accompany Jade Bao. “When getting there, you should just express your friendship to schoolmates and then came back without much delay.”Dowager Lady Jia told him.&lt;br /&gt;
Precious Jade quickly got dressed. Finding the carrige had not been prepared outside, he was anxious to go around and around in the hall. When the carrige that he urged arrived, he got on quickly, followed by Li Guiming and Tealeaf. Arriving at the door of Qin’s house, he found there was no one, and then flocked to the inner room, which frightened Qin`s two distant aunts and a few brothers to rush away.&lt;br /&gt;
At this time, Qin Zhong had been fainted two or three times, and also been unconscious for a long time. Precious Jade couldn't help but lose his voice at first sight. Li Gui persuaded him:&amp;quot;No, no, please don't. Qin Zhong is too weak to use the stiff bones on the bed. So he is removed and loosened . Would not it aggravate his illness if you do like this?&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 05:37, 31 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
宝玉听了，方忍住近前，见秦钟面如白蜡，合目呼吸，转展枕上。宝玉忙叫道：‘鲸哥！宝玉来了。”连叫了两三声，秦钟不睬。宝玉又叫道：“宝玉来了。”&lt;br /&gt;
&lt;br /&gt;
那秦钟早已魂魄离身，只剩得一口悠悠余气在胸，正见许多鬼判持牌提索&lt;br /&gt;
来捉他。那秦钟魂魄那里肯就去？又记念着家中无人掌着家务，又记挂着智能&lt;br /&gt;
尚无下落，因此百般求告鬼判。无奈这些鬼判都不肯徇私，反叱咤秦钟道：“亏&lt;br /&gt;
你还是读过书的人，岂不知俗语说的：‘阎王叫你三更死，谁敢留人到五更。’我们阴间上下都是铁面无私的，不比阳间瞻情顾意，有许多关碍处。”&lt;br /&gt;
&lt;br /&gt;
正闹着，那秦钟魂魄忽听见“宝玉来了”四字，便忙又央求道：“列位神差略慈悲，让我回去，和一个好朋友说一句话，就来了。”众鬼道：“又是什么好朋友？”秦钟道：“不瞒列位，就是荣国公孙子，小名宝玉的。”&lt;br /&gt;
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Precious Jade listened and stopped crying. He came up to Qin Zhong, seeing his Zhong's face as white as wax. Qin Zhong closed his eyes and breathe weakly and tossed himself on the bed. Precious Jade hurriedly shouted: “Brother Jing! I’m here.” He shouted several times but Qin Zhong still didn't respond to him. Precious Jade cried again: &amp;quot;Me, Precious Jade, is here.” Qin Zhong’s soul had already left and he could only live for a while. Many ghost judges were holding licenses to catch him. How would Qin Zhong's soul like to leave? He was worrying that there would be no one in charge of the house and that there was still no Sapientia’s whereabouts. So Qin Zhong pleaded with the ghost judges in various ways. But these ghost judges were not willing to favor him. Instead, they scolded him: &amp;quot;You are still an educated person. Don't you know that an old saying goes:’ If Satan wants you to die at 3 o'clock, who dares to keep you alive till 5 o'clock.’ Here, We are all selfless instead of sentimental like the earthly realms which would cause much trouble to business. &amp;quot;When they were discussing, Qin Zhong suddenly heard someone say&amp;quot;Precious Jade has been here&amp;quot;, and he hurriedly begged: &amp;quot;Could someone show a little mercy to me and let me go back to say something to a good friend, and then I will come back.&amp;quot; They asked: &amp;quot;Who?&amp;quot; Qin Zhong replied, &amp;quot;To tell the truth, it's just the grandson of Duke of Honor Mansion. His nickname is Precious Jade.&amp;quot;&lt;br /&gt;
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Precious Jade listened and stopped crying. He came up to Qin Zhong, finding that  his face was as white as wax. Qin Zhong closed his eyes and breathed weakly and tossed himself on the bed. Precious Jade hurriedly shouted: “Brother Whale! Precious Jade is coming.” He shouted several times but Qin Zhong still didn't respond to him. Precious Jade cried again: &amp;quot;Me, Precious Jade, is here.” Qin Zhong’s soul had already left and he could only live for a while. He saw that many ghost judges were holding licenses and ropes to catch him. How unwillingly could his soul follow the ghosts? He was worrying that there would be no one in charge of the house and that there was still no Sapientia’s whereabouts, so he spared no efforts to plead with the ghost judges for not taking away his soul. But these ghost judges were not willing to favor him. Instead, they scolded him: &amp;quot;Your books had been read for nothing. Don't you know that an old saying goes:’ If Yama wants you to die at 3 o'clock, who dares to keep you alive till 5 o'clock?’ Here, in the underworld, we are all untouchable rather than playing friendly like you people in the upper world, which would cause much trouble to our work. &amp;quot;When they were in a stalemate, Qin Zhong suddenly heard someone say&amp;quot;Precious Jade is coming&amp;quot;, and he hurriedly begged: &amp;quot;Could anyone show little mercy to me and let me go back to say something to a good friend, and then I will come back.&amp;quot; They asked: &amp;quot;Who?&amp;quot; Qin Zhong replied, &amp;quot;To tell the truth, it's just the grandson of Duke of Rong Mansion. And his nickname is Precious Jade. —[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 05:23, 31 March 2021 (UTC)&lt;br /&gt;
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Precious Jade listened and stopped crying. He came up to Clock Qin, seeing his Zhong's face as white as wax. Clock Qin closed his eyes and breathe weakly and tossed himself on the bed. Precious Jade hurriedly shouted: “Brother Jing! I’m here.” He shouted several times but Clock Qin still didn't respond to him. Precious Jade cried again: &amp;quot;Me, Precious Jade, is here.” Clock Qin’s soul had already left and he could only live for a while. Many ghost judges were holding licenses to catch him. How would Clock Qin's soul like to leave? He was worrying that there would be no one in charge of the house and that there was still no Sapientia’s whereabouts. So Clock Qin pleaded with the ghost judges in various ways. But these ghost judges were not willing to favor him. Instead, they scolded him: &amp;quot;You are still an educated person. Don't you know that an old saying goes:’ If Satan wants you to die at 3 o'clock, who dares to keep you alive till 5 o'clock.’ Here, We are all selfless instead of sentimental like the earthly realms which would cause much trouble to business. &amp;quot;When they were discussing, Clock Qin suddenly heard someone say&amp;quot;Precious Jade has been here&amp;quot;, and he hurriedly begged: &amp;quot;Could someone show a little mercy to me and let me go back to say something to a good friend, and then I will come back.&amp;quot; They asked: &amp;quot;Who?&amp;quot; Clock Qin replied, &amp;quot;To tell the truth, it's just the grandson of Duke of Rong Mansion. His nickname is Precious Jade.&amp;quot;&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:56, 27 April 2021 (UTC)&lt;br /&gt;
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=Wáng Jìngyí 王静怡=&lt;br /&gt;
都判官听了，先就唬慌起来，忙喝骂鬼使道：“我说你们放了他回去走走罢，你们断不依我的话，如今等的请出个运旺时盛的人才罢。”众鬼见都判如此，也皆忙了手脚，一面又抱怨道：“你老人家先是那等‘雷霆火炮’，原来见不得‘宝玉’二字。依我们愚见，他是阳，我们是阴，怕他亦无益于我们。”毕竟秦钟死活如何，且听下回分解。&lt;br /&gt;
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◎第十七回 大观园试才题对额  荣国府归省庆元宵&lt;br /&gt;
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话说秦钟既死，宝玉痛哭不止，李贵等好容易劝解半日方住，归时还带余&lt;br /&gt;
哀。贾母帮了几十两银子，外又另备奠仪，宝玉去吊丧。七日后便送殡掩埋了，&lt;br /&gt;
别无记述。只有宝玉日日感悼，思念不已，然亦无可如何了。又不知过了几时&lt;br /&gt;
才罢。&lt;br /&gt;
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Judge Du heard that, scared and panicked, yelling at ghosts:” I said that you should have released him back to the upper world but you did not follow my suggestion. Now, it is so “lucky” for you to invite a fortunate man who can overpower all of you.” The ghosts observed the behavior of Judge Du and then all were frantic, but at the same time they complained:” You are used to be somebody as if you had the power of thunderbolt and artillery. Unexpectedly, you fear these two characters--- Precious Jade. In our stupid opinions, he is in the upper world while we are in the low world. It is also of no benefit for us to fear him.” All in all, whether Qin Zhong died or not needs to be stated in the next chapter. &lt;br /&gt;
&lt;br /&gt;
Chapter 17 Selected Masters by Inscribing the Couplets in the Grand View Garden Visited Parents to celebrating the Lantern Festival in the Rong Mansion&lt;br /&gt;
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After Qin Zhong’s death, Precious Jade kept weeping bitterly. Li Gui and other people tried so hard that they comforted Precious Jade for a half day. But he still felt sorrowful endlessly. Dowager Lady Jia helped with dozen 500 grams of silver and prepared for the memorial ceremony. Then Precious Jade went there condoling with him. After seven days, Precious Jade with others attended the funeral and buried Qin Zhong without other records. Only Precious Jade were mournful and wailful almost every day, missing Qin Zhong heavily. But he could do nothing to change the fact Qin Zhong had died. Not knowing the end of his sadness.--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 16:17, 27 March 2021 (UTC)&lt;br /&gt;
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Judge Du heard that, scared and panicked, yelling at ghost-messengers:” I said that you should have released him back to the upper world but you did not follow my suggestion. Now, it is so “lucky” for you to invite a fortunate man who can overpower all of you.” The ghost-messengers observed the behavior of Judge Du and then all were thrown into panic, and at the same time they complained:” You are used to be somebody as if you had the power of thunderbolt and artillery. Unexpectedly, you fear these two characters--- Precious Jade. In our humble opinions, he is in the upper world while we are in the low world. It is also of no benefit for us to fear him.” All in all, whether Qin Zhong died or not needs to be stated in the next chapter.&lt;br /&gt;
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Chapter 17 Selected Masters by Inscribing the Couplets in the Grand View Garden Visited Parents to celebrating the Lantern Festival in the Rong Mansion&lt;br /&gt;
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After Qin Zhong’s death, Precious Jade cried his eyes out. Li Gui and other people tried so hard that they comforted Precious Jade for a half day. But he still felt sorrowful endlessly when he was back. Dowager Lady Jia helped with dozen 500 grams of silver and prepared for the memorial ceremony. Then Precious Jade went there condoling with him. After seven days, Precious Jade with others attended the funeral and buried Qin Zhong without other records. Only Precious Jade were mournful and wailful almost every day, missing Qin Zhong heavily. But he could do nothing to change the fact Qin Zhong had died. Not knowing the end of his sadness.--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 14:41, 15 June 2021 (UTC)&lt;br /&gt;
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=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
这日贾珍等来回贾政：“园内工程俱已告竣，大老爷已瞧过了，只等老爷瞧&lt;br /&gt;
了，或有不妥之处，再行改造，好题匾额对联的。”贾政听了，沉思一会，说道：“这匾对倒是一件难事。论礼该请贵妃赐题才是，然贵妃若不亲观其景，亦难悬拟；若直待贵妃游幸时再请题，若大景致，若干亭榭，无宇标题，任是花柳山水，也断不能生色。”&lt;br /&gt;
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众清客在旁笑答道：“老世翁所见极是。如今我们有个主意：各处匾对断&lt;br /&gt;
不可少，亦断不可定。如今且按其景致，或两字、三字、四字，虚合其意拟了来，&lt;br /&gt;
暂且做出灯匾联悬了，待贵妃游幸时，再请定名，岂不两全？”贾政听了道：“所见不差。我们今日且看看去，只管题了，若妥使用；若不妥，将雨村请来，令他再拟。”众人笑道：“老爷今日一拟定佳，何必又待雨村。”&lt;br /&gt;
Some time later Jia Zhen came to report to Jia Zheng that the work on the new garden had been completed and Jia She had inspected it. “All is ready for you to look over, sir,” he announced. “If there is anything unsuitable, we can have it changed before the inscriptions for different places are chosen.”Jia Zheng reflected for a while, then said, “The inscriptions do present a problem. By rights, we should ask the Imperial Consort to do us the honour of composing them, but she can hardly do this without having seen the place.&lt;br /&gt;
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“You are absolutely right, sir,” agreed his cultured companions. “I have an idea,” said one. “The inscriptions for different places can’t be dispensed with, but neither can they be fixed in advance.Why not briefly prepare some tentative couplets and names to suit each place? We can have them painted on lanterns in the shape of plaques and scrolls for the time being. Then, when Her Highness favours us with a visit, we can ask her to decide on permanent names. Wouldn’t this be a way out of the dilemma?”“A sound idea,” agreed Jia Zheng. “Let us have a look round then today and think up some inscriptions. If suitable, they can be used; if unsuitable, we can ask Jia Yucun over to help.”“Your suggestions are bound to be excellent, sir,” they countered. “Why need we call in Yucun?”&lt;br /&gt;
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Some time later Cousin Zhen came to report to Master Merchant that the work on the new garden had been completed and he had inspected it. “All is ready for you to look over, sir,” he announced. “If there is anything unsuitable, we can have it changed before the inscriptions for different places are chosen.”Master Merchant reflected for a while, then said, “The inscriptions do present a problem. By rights, we should ask the Imperial Consort to do us the honour of composing them, but she can hardly do this without having seen the place.&lt;br /&gt;
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“You are absolutely right, sir,” agreed his cultured companions. “I have an idea,” said one. “The inscriptions for different places can’t be dispensed with, but neither can they be fixed in advance.Why not briefly prepare some tentative couplets and names to suit each place? We can have them painted on lanterns in the shape of plaques and scrolls for the time being. Then, when Her Highness favours us with a visit, we can ask her to decide on permanent names. Wouldn’t this be a way out of the dilemma?”“A sound idea,” agreed Master Merchant. “Let us have a look round then today and think up some inscriptions. If suitable, they can be used; if unsuitable, we can ask Rainvillage Merchant over to help.”“Your suggestions are bound to be excellent, sir,” they countered. “Why need we call in Rainvillage?”--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 05:21, 28 April 2021 (UTC)&lt;br /&gt;
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Some time later Treasure Merchant came to report to Master Merchant that the work on the new garden had been completed and Pardon Merchant had inspected it. “All is ready for you to look over, sir,” he announced. “If there is anything unsuitable, we can have it changed before the inscriptions for different places are chosen.” Master Merchant reflected for a while, then said, “The inscriptions do present a problem. By rights, we should ask the Imperial Consort to do us the honour of composing them, but she can hardly do this without having seen the place.&lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 08:54, 9 June 2021 (UTC)&lt;br /&gt;
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=Wáng Zǐhán 王子涵=&lt;br /&gt;
贾政笑道：“你们不知，我自幼于花鸟山水题咏上就平平；如今上了年纪，且案牍劳烦，于这怡情悦性的文章上更生疏了。纵拟出来，不免迂腐古板，反使花柳园亭因而减色，转没意思。”众清客道：“这也无妨。我们大家看了公拟，各举所长，优则存之，劣则删之，未为不可。”贾政道：“此论极是。且喜今日天气和暖，大家去逛逛。”说着，起身引众人前往。贾珍先去园中知会众人。&lt;br /&gt;
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可巧近日宝玉因思念秦钟，忧伤不已，贾母常命人带他到新园中来戏耍。&lt;br /&gt;
此时亦才进去，忽见贾珍来了，向他笑道：“你还不快出去，一会儿老爷来了。”宝玉听了，带着奶娘小厮们，一溜烟就出园来。方转过弯，顶头看见贾政引着众人来了，躲之不及，只得一旁站了。贾政近因闻得塾师称赞他专能对对，虽不喜读书，偏有些歪才，所以此时便命他跟入园中，意欲试他一试。宝玉未知何意，只得随往。&lt;br /&gt;
Frankly, I was never a good hand even in my young days at writing verse about nature — flowers, birds and scenery. Now that I’m old and burdened with official duties I’ve quite lost the light touch required for belles-lettres. Any efforts of mine would undoubtedly be so clumsy and pedantic that they would fail to bring out the garden’s beauty: they might even have the opposite effect.” “Have no fears about that,” his secretaries assured him. “We can put our wits together. If each of us uses his ingenuity and we then choose the best suggestions, discarding the rest, we should be able to manage.” “Very well. Luckily it’s a fine day for a stroll.” Jia Zheng rose to his feet and set off at the head of the party, while Jia Zhen went on in advance to let everyone in the garden know they were coming.&lt;br /&gt;
It so happened that Baoyu had just arrived in the garden. For he was still grieving so much over Qin Zhong’s death that the Lady Dowager often told his servants to take him there to distract him.&lt;br /&gt;
Jia Zhen, coming upon him, warned him jokingly, “You’d better clear out! Lord Zheng is on his way here.” Baoyu rushed out like a streak of smoke, with his nurse and pages behind him. But just round the corner he ran into Jia Zheng’s party. Since escape was impossible, Baoyu stepped to one side. Now Jia Zheng had recently heard Baoyu’s tutor speak highly of his skill in composing couplets, remarking that the boy, though not studious, showed considerable originality. Having happened upon him like this, Jia Zheng ordered his son to accompany them. Baoyu had to comply, not knowing what his father wanted.--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 08:49, 9 June 2021 (UTC)&lt;br /&gt;
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“It’s not a big deal,” his secretaries assured him. “Why not  put our wits together. If each of us uses his ingenuity and we then choose the best suggestions, discarding the rest, we should be able to manage.” “Very well. Luckily it’s a fine day for a stroll.” Master Jia rose to his feet and set off at the head of the party, while Cousin Zhen  went  on in advance to let everyone in the garden know they were coming. It so happened that Precious Jade had just arrived in the garden. —[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 07:17, 31 March 2021 (UTC)&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
刚至园门，只见贾珍带领许多执事旁边侍立。贾政道：“你且把园门闭了，&lt;br /&gt;
我们先瞧外面，再进去。”贾珍命人将门关上，贾政先秉正看门，只见正门五间，&lt;br /&gt;
上面筒瓦泥鳅脊；那门栏窗槅，俱是细雕时新花样，并无朱粉涂饰；一色水磨群&lt;br /&gt;
墙，下面白石台阶，凿成西番花样。左右一望，皆雪白粉墙，下面虎皮石，随意乱砌，自成纹理，不落富丽俗套，自是喜欢。遂命开门，只见一带翠嶂挡在面前。&lt;br /&gt;
众清客都道：“好山，好山！”贾政道：“非此一山，一进来园中所有之景悉入目中，则有何趣？”众人都道：“极是。非胸中大有丘壑，焉能想到这里。”&lt;br /&gt;
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说毕，往前一望，见白石岐嶒，或如鬼怪，或似猛兽,纵横拱立；上面苔藓斑驳，或藤萝掩映，其中微露羊肠小径。贾政道：“我们就从此小径游去，回来由那一边出去,方可遍览。”说毕，命贾珍前导,自己扶了宝玉，逶迤各階層走山口。&lt;br /&gt;
At the entrance to the garden, they found Cousin Zhen with a group of stewards waiting on the sidelines.“Close the gate,” said Master Jia. “Let us see what it looks like from outside before we go in.” Cousin Zhen asked people to close the gate, and Master Jia inspected the gatehouse, a building in five sections with an arched roof of semi-circular tiles. The lintels and lattices, finely carved with fashionable designs, were not painted in pink; the walls were of polished bricks of a uniform color, and the white marble steps were carved with passion-flowers. Glancing from left to right, the view in sight was the whitewashed wall, and at its base was a mosaic of striped “tiger-skin” stones. The absence of vulgar ostentation pleased him. He had the gate opened and they went in, only to find their view screened by a green hill. His guests all cried, &amp;quot; wonderful view!&amp;quot; “If not for this hill,” observed Master Jia, “one would see the whole garden as soon as one entered, and how tame that would be.”“Exactly,” agreed the rest. “Only a bold landscape gardener could have conceived this.&lt;br /&gt;
After saying so, they looked forward.On the miniature mountain they saw rugged white rocks resembling monsters and beasts, some recumbent, some rampant, dappled with moss or hung about with creepers, a narrow zigzag path just discernible between them.“We’ll follow this path,” decided Master Jia. “Coming back we can find our way out at the other side. That should take us over the whole grounds.”Then he made Cousin Zhen lead the way and, leaning on Precious Jade's shoulder, followed him up through the boulders.&lt;br /&gt;
&lt;br /&gt;
 At the entrance to the garden, they found Cousin Zhen with a group of stewards waiting on the sidelines.“Close the gate,” said Master Jia. “Let us see what it looks like from outside before we go in.” Cousin Zhen asked people to close the gate, and Master Jia inspected the gatehouse, a building in five sections with an arched roof of semi-circular tiles. The lintels and lattices, finely carved with fashionable designs, were not painted in pink; the walls were of polished bricks of a uniform color, and the white marble steps were carved with passion-flowers. Glancing from left to right, the view in sight was the whitewashed wall, and at its base was a mosaic of striped “tiger-skin” stones. The absence of vulgar ostentation pleased him. He had the gate opened and they went in, only to find their view screened by a green hill. His guests all cried, &amp;quot; wonderful view!&amp;quot; “If not for this hill,” observed Master Jia, “one would see the whole garden as soon as one entered, and how tame that would be.”“Exactly,” agreed the rest. “Only a bold landscape gardener could have conceived this. After saying so, they looked forward.On the miniature mountain they saw rugged white rocks resembling monsters and beasts, some recumbent, some rampant, dappled with moss or hung about with creepers, a narrow zigzag path just discernible between them.“We’ll follow this path,” decided Master Jia. “Coming back we can find our way out at the other side. That should take us over the whole grounds.”Then he made Cousin Zhen lead the way and, leaning on Precious Jade's shoulder, followed him up through the boulders.—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 04:45, 28 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
1.His guests all cried, &amp;quot; wonderful view!&amp;quot;→ All his guests shouted, &amp;quot; Wonderful view!&amp;quot;--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:26, 16 June 2021 (UTC)&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
抬头忽见山上有镜面白石一块，正是迎面留题处。贾政回头笑道：“诸公请看，此处题以何名方妙？”众人听说，也有说该题“叠翠”二字的，也有说该题“锦嶂”的，又有说“赛香炉”的，又有说“小终南”的，种种名色，不止十几个。原来众客心中，早知贾政要试宝玉的才，故此只将些俗套来敷衍。宝玉也知此意。&lt;br /&gt;
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贾政听了，便回头命宝玉拟来。宝玉道：“尝听见古人云：‘编新不如述旧，&lt;br /&gt;
刻古终胜雕今。’况此处并非主山正景，原无可题之处，不过是探景一进步耳。&lt;br /&gt;
莫如直书古人‘曲径通幽’这旧句在上，倒也大方。”众人听了，赞道：“是极，妙极！二世兄天分高，才情远，不似我们读腐了书的。”贾政笑道：“不当过奖他。他年小的人，不过以一知充十用，取笑罢了。再俟选拟。”&lt;br /&gt;
&lt;br /&gt;
Raising his head， he suddenly beheld on the hill a block of stone， as white as the surface of a looking-glass， in a site which was， in very deed， suitable to be left for an inscription， as it was bound to meet the eye.&lt;br /&gt;
&amp;quot;Gentlemen，&amp;quot; Master Merchant observed， as he turned his head round and smiled， &amp;quot;please look at this spot. What name will it be fit to give it？&amp;quot;&lt;br /&gt;
When the company heard his remark， some maintained that the two words &amp;quot;Heaped verdure&amp;quot; should be written； and others upheld that the device should be &amp;quot;Embroidered Hill.&amp;quot; Others again suggested： &amp;quot;Vying with the Hsiang Lu；&amp;quot; and others recommended &amp;quot;the small Chung Nan.&amp;quot; And various kinds of names were proposed， which did not fall short of several tens.&lt;br /&gt;
All the visitors had been， it must be explained， aware at an early period of the fact that Master Merchant meant to put Precious Jade Merchant's ability to the test， and for this reason they merely proposed a few combinations in common use. But of this intention， Precious Jade Merchant himself was likewise cognizant.&lt;br /&gt;
After listening to the suggestions， Master Merchant forthwith turned his head round and bade Precious Jade Merchant think of some motto.&lt;br /&gt;
&amp;quot;I've often heard，&amp;quot; Precious Jade Merchant replied， &amp;quot;that writers of old opine that it's better to quote an old saying than to compose a new one； and that an old engraving excels in every respect an engraving of the present day. What's more， this place doesn't constitute the main hill or the chief feature of the scenery， and is really no site where any inscription should be put， as it no more than constitutes the first step in the inspection of the landscape. Won't it be well to employ the exact text of an old writer consisting of 'a tortuous path leading to a secluded （nook）。' This line of past days would， if inscribed， be， in fact， liberal to boot.&amp;quot;&lt;br /&gt;
After listening to the proposed line， they all sang its praise. &amp;quot;First-rate！ excellent！&amp;quot; they cried， &amp;quot;the natural talents of your second son， dear friend， are lofty； his mental capacity is astute； he is unlike ourselves， who have read books but are simple fools.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;You shouldn't，&amp;quot; urged Master Merchant smilingly， &amp;quot;heap upon him excessive praise； he's young in years， and merely knows one thing which he turns to the use of ten purposes； you should laugh at him， that's all； but we can by and by choose some device.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;You shouldn't，&amp;quot; urged Master Merchant smilingly， &amp;quot;heap upon him excessive praise； he's young in years， and merely knows one thing which he turns to the use of ten purposes； which were going to be laughted at， that's all； but we can by and by choose some device.&amp;quot;--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 16:10, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
说着，进入石洞来，只见佳木茏葱，奇花烂灼，一带清流，从花木深处泻于石隙之下。再进数些，渐向北边，平坦宽豁，两边飞楼插空，雕甍绣槛，皆隐于山坳树杪之间。俯而视之，但青溪泻玉，石磴穿云，白石为栏，环抱池沼，石桥三港，兽面衔吐。桥上有亭。贾政与诸人到亭内坐了，问：“诸公以何题此？”诸人都道：‘当日欧阳公《醉翁亭记》有云：‘有亭翼然’，就名‘翼然’罢。”贾政笑道：“‘翼然’虽佳，但此亭压水而成，还须偏于水题为称。依我拙裁，欧阳公句：‘泻于两峰之间’，竟用他这一个‘泻’字。”有一客道：“是极、是极。竟是‘泻玉’二字妙。”贾政拈须寻思，因叫宝玉拟一个来。宝玉回道：“老爷方才所说已是。&lt;br /&gt;
&lt;br /&gt;
Through the stone cave, There are  high trees luxuriant and wonderful flowers blooming alone , from which a stripe of spring is flowing into the stone chinks. Going further towards the north, the scene becomes wider and flatter. Tall buildings with decorated ridges and carved railings are on two sides, emerging in the forests and dales. Look down. What in your sight are jade fragments spattering on green streams; stone steps are cuting into the clouds; white stones are taken as banisters which surrounding pools and lakes; the stone bridge has three ports shaped like beast's mouth. On the bridge are a single pavilion. They come and sit in. Jia Zheng asks: “ What will you inscribe here？” Others  say :“In Ouyang Xiu's The Roadside Hut of the Old Drunkard， it is written that ‘A hut with spreading roof which seems to fly’, how about ‘Flying’?” Jia Zheng smiles:“Sounds good, but this pavilion beside the stream, we should name it about water. In my poor opinion, Ouyang's another sentence is suitable, that is ‘cascading between two peaks’. What about ‘cascade’?” One says :“Great! yah, it cannot be better to use ‘cascading jades’.” Jia Zheng thinks a while, then ask Baoyu give an advice. Baoyu replys:“I have the same idea.”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Then, they entered the cave. There were high trees, luxuriant and wonderful flowers, through which a stripe of spring was flowing and falling into the stone chinks. In the further north, the scene becomes wider and flatter. Tall buildings decorated with ridges and carved railings were standing on two sides, hiding in the forests and dales. If looking down, you could see jade fragments spattering on green streams; stone steps were cutting into the clouds; white stones were taken as banisters, surrounding the pools and lakes; the stone bridge whose shape like beast’s mouth had three ports. On the bridge, there was a single pavilion. They came and sat in. Jia Zheng asked, “Waht will you inscribe here?” Others said, “ Ouyang Xiu wrote ‘A hut with spreading roof which seems to fly’ in his The Roadside Hut of the Old Drunkard. So, how about ‘Flying’?” Jia Zheng smiled and said, “Sounds good, but this pavilion is beside the stream, its name should be related to water. I would have suggested that Ouyang’s another sentence would be more suitable, that is ‘cascading between two peaks’. So how about ‘cascade’?” One said, “Terrific! Oh, it cannot be better than ‘cascading jades’.” Jia Zheng thought for a while, then asked Baoyu to give an advice. Baoyu replied, “I own the same opinion.”——[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
Through the stone cave, There were high trees luxuriant and wonderful flowers blooming alone , from which a stripe of spring was flowing into the stone chinks. Going further towards the north, the scene became wider and flatter. Tall buildings with decorated ridges and carved railings were on two sides, emerging in the forests and dales. Look down. What in your sight were jade fragments spattering on green streams; stone steps were cuting into the clouds; white stones were taken as banisters which surrounding pools and lakes; the stone bridge had three ports shaped like beast's mouth. On the bridge were a single pavilion. They came and sat in. Master Merchant asked: “ What will you inscribe here？” Others said :“In Ouyang Xiu's The Roadside Hut of the Old Drunkard， it is written that ‘A hut with spreading roof which seems like a bird's extended wings to fly’, how about ‘Extended Wings’?” Master Merchant smiled:“Sounds good, but this pavilion beside the stream, we should name it about water. In my poor opinion, Ouyang's another sentence is suitable, that is ‘flowing between two peaks’. What about ‘flowing’?” One says :“Great! yah, it cannot be better to use ‘flowing jades’.” Master Merchant thought a while, then asked Precious Jade to give an advice. Precious Jade replied:“I have the same idea.”--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 06:55, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
但如今追究了去，似乎当日欧阳公题酿泉用一‘泻’字则妥，今日此泉也用‘泻’字，似乎不妥。况此处既为省亲别墅，亦当依应制之体，用此等字，亦似粗陋不雅。求再拟蕴藉古蓄者。”贾政笑道：“诸公听此论何如？方才众人编新，你说‘泻玉’二字，则不若‘沁芳’二字，岂不新雅？”贾政拈须点头不语。众人都忙迎台，称赞宝玉才情不凡。贾政道：“匾上二字容易。再作一副七言对来。”宝玉四顾一望，机上心来，乃念道：&lt;br /&gt;
&lt;br /&gt;
绕堤柳借三篙翠，隔岸花分一脉香。&lt;br /&gt;
&lt;br /&gt;
贾政听了，点头微笑。众人又称赞个不已。于是出亭过池，一山一石，一花一木，莫不着意观览。忽抬头见前面一带粉垣，数楹修舍，有千百竿翠竹遮映。众人都道：“好个所在！”&lt;br /&gt;
 &lt;br /&gt;
“However, after having a further analysis, it seems that the county commissioner Ouyang named the fermented spring with ‘Rushing’ is fine, while this spring seems not so good to be named with ‘Rushing’. Moreover, located in a noble’s villa, its name should be equal to the form of poetries or essays composed under the emperor’s order. With such a form and meaning, this name seems to be vulgar and inelegant. Thus, I hope another name containing ancient writing style will be created.” Jiazheng(Mr. Fake policy) smiled and said, “How about everybody else’s opinions about it. Other people named it just now, but you said ‘Rushing jade’ was not as good as ‘Refreshing Fragrance’. So, was because it not novel and elegant?” Jiazheng twisted his mustache, nodded and said nothing else. The surrounding people immediately pandered him by praising Baoyu’s outstanding talent. Then, Jiazheng said, “Naming just two words in this board is easy. You shall make a heptasyllabic sentence.” Baoyu looked around, got some inspiration and said, &lt;br /&gt;
“Willows reflected by the dyke lend three punts of verdancy; flowers sitting on either shore spare the same breath of fragrance.”&lt;br /&gt;
After hearing it, Jiazheng nodded and smiled; and the people greatly complimented it again. Then, they went out of the pavilion and passed the pond, meanwhile, admiring a hill, a stone, a flower or a tree there. People looking up, suddenly, a red wall appeared before them. Behind the wall, there were Lots of grand houses hiding in thousands of virid bamboo. Everybody praised, “What a wonderful place!”&lt;br /&gt;
&lt;br /&gt;
“However, after having a further analysis, it seems that the county commissioner Ouyang named the Brewer’s spring with ‘spilling’ is fine, but it will be unsuitable here. Moreover, located in a noble’s villa, its name should be equal to the form of poetries or essays composed under the emperor’s order. With such a form and meaning, this name seems to be vulgar and inelegant. Thus, I hope another name containing ancient writing style will be created.”Master Merchant smiled and said, “How about everybody else’s opinions about it? When we suggest something original, he is all in favor of old quotation. But now that we are using an old quotation, he finds it too coarse. Well, what do you propose?” Master Merchant twisted his mustache, nodded and said nothing else. “Wouldn’t ‘Sweeping Fragrance’ be more original and tasteful than ‘Spilling Jade’?” The surrounding people immediately pandered him by praising Precious Jade’s outstanding talent. Then, Master Merchant said, “The selection of two words is easy. Go on and make a heptasyllabic sentence.”Precious Jade looked around, got some inspiration and said, &lt;br /&gt;
“Willows reflected by the dyke lend three punts of verdancy; flowers sitting on either shore spare the same breath of fragrance.”&lt;br /&gt;
After hearing it, Master Merchant nodded and smiled; and the people greatly complimented it again. Then, they went out of the pavilion and passed the pond, meanwhile, admiring a hill, a stone, a flower or a tree there. People looking up, suddenly, a red wall appeared before them. Behind the wall, there were Lots of grand houses hiding in thousands of virid bamboo. Everybody praised as they walked in, “What a wonderful place!”--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 14:39, 29 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
“However, after having a further analysis, it seems that the county commissioner Ouyang named the fermented spring with ‘Rushing’ is fine, while this spring seems not so good to be named with ‘Rushing’. Moreover, located in a noble’s villa, its name should be equal to the form of poetries or essays composed under the emperor’s order. With such a form and meaning, this name seems to be vulgar and inelegant. Thus, I hope another name containing ancient writing style will be created.” Jiazheng(Mr. Fake policy) smiled and said, “How about everybody else’s opinions about it. Other people named it just now, but you said ‘Rushing jade’ was not as good as ‘Refreshing Fragrance’. So, was because it not novel and elegant?” Jiazheng twisted his mustache, nodded and said nothing else. The surrounding people immediately pandered him by praising Baoyu’s outstanding talent. Then, Jiazheng said, “Naming just two words in this board is easy. You shall make a heptasyllabic sentence.” Baoyu looked around, got some inspiration and said, “Willows reflected by the dyke lend three punts of verdancy; flowers sitting on either shore spare the same breath of fragrance.” After hearing it, Jiazheng nodded and smiled; and the people greatly complimented it again. Then, they went out of the pavilion and passed the pond, meanwhile, admiring a hill, a stone, a flower or a tree there. People looking up, suddenly, a red wall appeared before them. Behind the wall, there were Lots of grand houses hiding in thousands of virid bamboo. Everybody praised, “What a wonderful place!” ----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
于是大家进入，只见进门便是曲折游廊，阶下石子漫成甬路；上面小小三间房舍，两明一暗，里面都是合着地步打的床几椅案。从里间房里，又有一小门，出去却是后园，有大株梨花并芭蕉，又有两问小小退步。后院墙下忽开一隙，得泉一派，开沟仅尺许，灌入墙内，绕阶缘屋至前院，盘旋竹下而出。贾政笑道：“这一处倒还好；若能月夜坐坐此窗下读书，也不枉虚生一世。”说着，便看宝玉，唬的宝玉忙垂了头，众人忙用闲话解说。又二客说：“此处的匾该题四个字。”贾政笑问：“那四个字？”一个道是：“淇水遗风。”贾政道：“俗。”又一个道是：“睢园遗迹。”贾政道：“也俗。”贾珍在旁说道：“还是宝兄弟拟一个来。”贾政道：“他未曾做，先要议论人家的好歹，可见就是个轻薄人。”众客道：“议论的极是，其奈他何。”&lt;br /&gt;
And they walked in. From the gate a porch twisted its way and was covered with a cobbled path below. There was a little cottage of three rooms, with two halls and one bedroom, inside which all furniture was made to fit the Measurements of rooms. Another small door in the inner room opened on to the back garden, where grew a large pear-tree, broad-leafed plantain and two tiny courts. Through a small opening on the back wall flowed a spring, ditched only a few feet, which wound past the steps and the lodge to the front court before meandering out through bamboos. Master Jia smiled, “This is a pleasant place. If one could study at this window under a moon, one would not have lived in vain.” He glanced at Precious Jade, who hung his head in confusion while others quickly changed the subject. Two of them suggested, “We need a four-character inscription here.” “What four character?” asked Master Jia. One said, “The survival of Qi River.” Master Jia replied, “It’s too commonplace.” “Traces of the Sui Garden?” “This is equally vulgar.” Treasure Merchant proposed, “Let Cousin Bao have a try.” “Before he makes any suggestion,” objected Master Jia, “the impudent fellow reviews other people’s.” Other people said, “But his comments are correct. How can you blame him?”--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 07:03, 26 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
And they walked in. Through the gate a porch twisted its way and was followed with a cobbled path below. There was a little three cottages, with two halls and one bedroom where all furniture was made to fit the Measurements of rooms. Another small door in the inner room opened on to the back garden, where grew a large pear tree, broad-leafed plantain and two tiny courts. Through a small opening on the back wall flowed a spring, ditched only a few feet, which wound past the steps and the lodge to the front court before meandering out through bamboos. Jia Zheng smiled, “This is a pleasant place. If one could study at this window under a moon, one would not have lived in vain.” He glanced at Baoyu, who hung his head in confusion while others quickly changed the subject. Two of them suggested, “We need a four-character inscription here.” “What four character?” asked Jia Zheng. One said, “The survival of Qi River.” Jia Zheng replied, “It’s too commonplace.” “Traces of the Sui Garden.” “This is equally vulgar.” Jia Zhen proposed, “Let Cousin Bao have a try.” “He has never made any suggestion,” objected Jia Zheng, “the impudent fellow reviews other people’s.” Other people said, “But his comments are correct. How can you blame him?”--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 00:47, 27 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
贾政忙道：“休如此纵了他。”因命他道：“今日任你狂为乱道，先说出议论来，方许你做。方才众人说的，可有使得的否？”宝玉见问，便答道：“都似不妥。”贾政冷笑道：“怎么不妥？”宝玉道：“这是第一处行幸之所，必须颂圣方可。若用四字的匾，又有古人现成的，何必再做？”贾政道：“难道‘淇水’、‘雎园’不是古人的？”宝玉道：“这太板了。莫若‘有凤来仪’四字。”众人都哄然叫妙。贾政点头道：“畜生，畜生！可谓‘管窥蠡测’矣。”因命：“再题一联来。”宝玉便念道：&lt;br /&gt;
&lt;br /&gt;
宝鼎茶闲烟尚绿，幽窗棋罢指犹凉。&lt;br /&gt;
&lt;br /&gt;
贾政摇头道：“也未见长。”说毕，引人出来。方欲走时，忽想起一事来，问贾珍道：“这些院落屋宇，并几案桌椅都算有了。还有那些帐幔帘子并陈设玩&lt;br /&gt;
器古董，可也都是一处一处合式配就的么？”&lt;br /&gt;
&lt;br /&gt;
Jia Zheng said hastily,&amp;quot;Don't indulge him like this.&amp;quot; Then he asked, &amp;quot;Now you are almost acting with craziness. You should say something out at first, and then we can allowed whether you can do it or not. What they have said can be done?&amp;quot; Precious Jade said, &amp;quot;It seems that they are all not so practical.&amp;quot; Jia Zheng sneered, &amp;quot;Why?&amp;quot; Precious Jade said, &amp;quot;It is the first line of where the emperor will arrive, which means that we should praise our king. If we use four words' plaque which has been used by ancient people, why should we do it again?&amp;quot; Jia Zhen said, &amp;quot;Then are 'Qishui', 'Suiyuan' not things that belong to the pasts?&amp;quot; Precious Jade said, &amp;quot;You are too stale. Nothing better than 'A phoenix comes with grace to rest'.&amp;quot; People around all laughed with joy, considering it was wonderful. Jia Zheng agreed and nodded,&amp;quot;Bed egg! That's 'restricted in view and shallow in understanding'. Can you come up with another one?&amp;quot; Precious Jade said,&amp;quot;Fenticores with the green mist and leisure tea; through peaceful windows there is someone who finishes a play of chess with cold fingers. &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Jia Zheng shaked his head, &amp;quot;It is not better than before.&amp;quot; After that, he brought him out. When he was going to leave, he was remand of one thing, so he asked Jia Zhen, &amp;quot;There are things like chairs and tables in these houses. How about those curtains and antiques? Can it be placed one-to-one harmoniously?&amp;quot;--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:07, 26 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&lt;br /&gt;
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Master Merchant said hastily,&amp;quot;Don't indulge him like this.&amp;quot; Then he asked, &amp;quot;Now you are almost acting with craziness. You should say something out at first, and then we can allowed whether you can do it or not. What they have said can be done?&amp;quot; Precious Jade said, &amp;quot;It seems that they are all not so practical.&amp;quot; Master Merchant sneered, &amp;quot;Why?&amp;quot; Precious Jade said, &amp;quot;It is the first line of where the emperor will arrive, which means that we should praise our king. If we use four words' plaque which has been used by ancient people, why should we do it again?&amp;quot; Master Merchant said, &amp;quot;Then are 'Qishui', 'Suiyuan' not things that belong to the pasts?&amp;quot; Precious Jade said, &amp;quot;You are too stale. Nothing better than 'A phoenix comes with grace to rest'.&amp;quot; People around all laughed with joy, considering it was wonderful. Master Merchant agreed and nodded,&amp;quot;Bed egg! That's 'restricted in view and shallow in understanding'. Can you come up with another one?&amp;quot; Precious Jade said,&amp;quot;Fenticores with the green mist and leisure tea; through peaceful windows there is someone who finishes a play of chess with cold fingers. &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Master Merchant shaked his head, &amp;quot;It is not better than before.&amp;quot; After that, he brought him out. When he was going to leave, he was remand of one thing, so he asked Master Merchant, &amp;quot;There are things like chairs and tables in these houses. How about those curtains and antiques? Can it be placed one-to-one harmoniously?&amp;quot;--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 13:30, 26 April 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210317_culture&amp;diff=123398</id>
		<title>20210317 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210317_culture&amp;diff=123398"/>
		<updated>2021-06-16T05:21:32Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Homework 3 from Mar 17 for Mar 24, 2021&lt;br /&gt;
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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.&lt;br /&gt;
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'''《红楼梦》程甲本'''&lt;br /&gt;
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Please find the most beautiful translations of names and jointly agree to use them. Please also list common terms and joint translation here:&lt;br /&gt;
*Jia Baoyu = Precious Jade&lt;br /&gt;
*Jia Yucun = Rain Village&lt;br /&gt;
*Lin Daiyu = Mascara Jade&lt;br /&gt;
*Zhen Shiyin = Hide-the-facts&lt;br /&gt;
*...(everybody please add more here)&lt;br /&gt;
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=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
第十一回 庆寿辰宁府排家宴  见熙凤贾瑞起淫心&lt;br /&gt;
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话说是日贾敬的寿辰，贾珍先将上等可吃的东西，稀奇的果品，装了十六大&lt;br /&gt;
捧盒，着贾蓉带领家下人选与贾敬去，向贾蓉说道：“你留神看太爷喜欢不喜欢，&lt;br /&gt;
你就行了礼起来，说：‘父亲遵太爷的话，不敢前来，在家里率领合家都朝上行了礼了。’”贾蓉昕罢，即率领家人去了。&lt;br /&gt;
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这里渐渐的就有人来。先是贾琏、贾蔷来看了各处的座位，并问：“有什么玩意儿没有？”家人答道：“我们爷算计，本来请太爷今日来家，所以并未敢预备玩意儿。前日听见太爷不来了，现叫奴才们找了一班小戏儿并一档子打十番的，都在园子里戏台上预备着呢。”&lt;br /&gt;
Jia Esteem's Birthday ls Celebrated in the Ning Mansion Jia Omen Lusts after Meeting Sunny Feng Jia Esteem’s birthday had now arrived. Jia Treasure had six large hampers filled with selected delicacies and rare fruit and sent Jia Lotus with some servants to deliver them to Jia Esteem. “Make sure your grandfather’s agreeable before you pay your respects,” he cautioned his son. “Tell him that to comply with his wishes I’ve not ventured to go, but I am assembling the whole family here to honor him.&amp;quot; After Jia Lotus had left the guests began to arrive gradually. First came Jia Chain and Jia Rose. Observing the seating arrangements, they asked what entertainment was to be offered. &amp;quot;His Lordship originally planned to invite the old master, so he didn’t prepare any theatricals, said the servants. “But the day before yesterday, when he heard that the old gentleman wouldn’t be coming, he got us to hire some young actors and musicians. They' re getting ready now on the stage in the garden.&amp;quot;&lt;br /&gt;
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Jia Esteem's Birthday ls Celebrated in the Ning Mansion &lt;br /&gt;
Jia Omen Lusts after Meeting Sunny Feng &lt;br /&gt;
Jia Esteem’s birthday arrived. Jia Treasure had six large hampers filled with selected delicacies and rare fruit and sent Jia Lotus with some servants to deliver them to Jia Esteem. “Pay attention to that whether your grandfather likes it or not before you pay your respects,” he cautioned his son: “tell him that to comply with his wishes your father will not venture to go, but you are assembling the whole family here to honor him.&amp;quot; After Jia Lotus had left the guests began to arrive gradually. First came Jia Chain and Jia Rose. Observing the seating arrangements, they asked what entertainment was to be offered. &amp;quot;Our Lordship originally planned to invite the old master, so he didn’t prepare any theatricals,” said the servants. “But the day before yesterday, when he heard that the old gentleman wouldn’t be coming, he got us to hire some young actors and musicians. They' re getting ready now on the stage in the garden.&amp;quot;--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 07:25, 24 March 2021 (UTC)&lt;br /&gt;
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=Chén Kērǔ  陈柯汝=&lt;br /&gt;
次后邢夫人、王夫人、凤姐儿、宝玉都来了，贾珍并尤氏接了进去。尤氏的&lt;br /&gt;
母亲已先在这里，大家见过了，彼此让了坐。贾珍尤氏二人递了茶，因笑道：“老&lt;br /&gt;
太太原是个老祖宗，我父亲又是侄儿，这样年纪、日子，原不敢请他老人家来；但是这时候，天气又凉爽，满园的菊花盛开，请老祖宗过来散散闷，看看众儿孙热热闹闹的，是这个意思。谁知老祖宗又不赏脸。”凤姐儿未等王夫人开口，先说道：“老太太昨日还说要来呢，因为晚上看见宝兄弟吃桃儿，他老人家又嘴馋了，吃了有大半个，五更天时候就一连起来了两次，今日早晨略觉身子倦些。因叫我回大爷，今日断不能来了，说有好吃的要几样，还要很烂的呢。”贾珍听了笑道：“我说老祖宗是爱热闹的，今日不来，必定有个缘故，这就是了。”&lt;br /&gt;
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Lady Xing, Lady Wang, Madam Phoenix, Precious Jade came afterwards, and Jia Zhen and Madam You brought them into the auditorium. The mother of Madam You had already been there for a while, and after greeting each other, they sat down. Jia Zhen and Madam You offered tea to guests. Smiling, Jia Zhen said:” Aunt Dowager is old enough and is the aunt of my father. I dared not to invite her to come in such an old age and such a small day, but at this time as chrysanthemums are fully blooming, and weather is cool and comfortable, we would like to invite Aunt Dowager here for a walk to get rid of boredom by seeing her later generations talking and laughing. However, Aunt Dowager did not give us a chance.” Madam Phoenix explained before Lady Wang:”Aunt Dowager had planned to come, but last night Precious Jade ate a peach; noticing that, Aunt Dowager felt hungry and asked to eat a big one, which made her leave bed several times for washroom around five o’clock. And this morning she felt tired. That is why she did not come. But she would have some delicious food from you, and she said she wanted the worst one for she was sorry for not coming.” Jia Zhen smiled after listening this words and replied:” as far as I known, my aunt loves celebrations; and if she dose not come, there must be some reasons, and that’s the exact reason.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 03:24, 20 March 2021 (UTC)&lt;br /&gt;
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Lady Xing, Lady Wang, Madam Phoenix, Precious Jade came afterwards, and Jia Zhen and Madam You brought them into the auditorium. The mother of Madam You had already been there for a while, and after greeting each other, they sat down modestly. Jia Zhen and Madam You offered tea to guests. Smiling, Jia Zhen said:” Aunt Dowager is old enough and is the aunt of my father. I dared not to invite her to come in such an old age and suchan inessential day, but at this time as chrysanthemums are fully blooming, and weather is cool and comfortable, we would like to invite Aunt Dowager here for a walk to get rid of boredom by seeing her later generations talking and laughing. However, Aunt Dowager did not give us a chance.” Madam Phoenix explained before Lady Wang:”Aunt Dowager had planned to come yesterday, but last night after seeing Precious-Jade eat peaches, Aunt Dowager felt hungry and asked to eat a big one, which made her leave bed several times for washroom around five o’clock. And this morning she felt tired. That is why she did not come. But she would have some delicious food from you, and she said she wanted the worst one for she was sorry for not coming.” Jia Zhen smiled after listening this words and replied:” as far as I known, my aunt loves celebrations; and if she dose not come, there must be some reasons, and that’s the exact reason.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 15:27, 21 March 2021 (UTC)&lt;br /&gt;
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Lady City, Lady King, Madam Phoenix, Precious Jade came afterwards, and Master Merchant and Madam Outstanding brought them into the auditorium. The mother of Madam Outstanding had already been there for a while, and after greeting each other, they sat down. Master Merchant and Madam Outstanding offered tea to guests. Smiling, Master Merchant said:” Grandma Merchant is old enough and is the aunt of my father. I dared not to invite her to come in such an old age and such a small day, but at this time as chrysanthemums are fully blooming, and weather is cool and comfortable, we would like to invite Grandma Merchant here for a walk to get rid of boredom by seeing her later generations talking and laughing. However, Grandma Merchant did not give us a chance.” Madam Phoenix explained before Lady King:”Grandma Merchant had planned to come, but last night Precious Jade ate a peach; noticing that, Grandma Merchant felt hungry and asked to eat a big one, which made her leave bed several times for washroom around five o’clock. And this morning she felt tired. That is why she did not come. But she would have some delicious food from you, and she said she wanted the worst one for she was sorry for not coming.” Master Merchant smiled after listening this words and replied:” as far as I known, my aunt loves celebrations; and if she dose not come, there must be some reasons, and that’s the exact reason.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 08:54, 4 June 2021 (UTC)&lt;br /&gt;
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=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
王夫人说：“前日听见你大妹妹说，蓉哥媳妇身上有些不大好，到底是怎么&lt;br /&gt;
样？”尤氏道：“他这个病得的也奇。上月中秋还跟着老太太、太太玩了半夜，回家来好好的。到了二十日以后，一日比一日觉懒了，又懒得吃东西，这将近有半个多月。经期又有两个月没来。”邢夫人接着说道：“莫是喜罢？”&lt;br /&gt;
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正说着，外头人回道：“大老爷、二老爷并一家的爷们都来了，在厅上呢。”&lt;br /&gt;
贾珍连忙出去了。这里尤氏复说：“从前大夫也有说是喜的，昨日冯紫英荐了&lt;br /&gt;
他幼时从学过的一个先生，医道很好，瞧了说不是喜，是一个大症候。昨日开了&lt;br /&gt;
方子，吃了一剂药，今日头眩的略好些，别的仍不见大效。”凤姐儿道：”我说他不是十分支持不住，今日这样日子，再也不肯不挣扎着上来。”尤氏道：“你是初三日在这里见他的，他强扎挣了半天，也是因你们娘儿两个好的上头，还恋恋的舍不得去。”&lt;br /&gt;
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Lady Wang said: “Several days before I’ve heard of your eldest sister that Brother Lotus’s wife didn’t feel good, what’s wrong with her?” Madam You answered: “This disease seems to be strange. Last month at the Mid-Autumn Festival, she still hung out with Old-Ancestor and madams and came back happily. After the day of 20th, she became more and more fatigue day by day and felt a lack of appetite. Such situation lasts almost more than half the month. Besides, it’s been two months for her last period.” Madam Xing next asked: “Isn’t her pregnant?”&lt;br /&gt;
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As they talked, the servant replied: “The eldest master and the second one, along with their sons, are waiting in the hall.” Hearing that, False-Pearl ran towards them hurriedly. Madam You began again at the moment: “One of the former doctor agreed with the fact of pregnancy, but yesterday the doctor recommended by Purple-Ambition diagnosed it as serious illness rather than having a baby. It is said that the doctor was masterful and Feng ever consulted from him. Having a dose of medicine following the guidance of his prescription, the headache seems to relieve, and nothing else.” Sister-Phoenix said: “In my opinion, if she is feeling good, as today’s circumstance, she must struggle to get up.” Madam You sighed: “It was the day of 3rd that you saw her. She struggled for a long time to see you two due to your kindness and at the time of farewell, she even hesitated.”&lt;br /&gt;
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Lady Wang said: “Several days ago your eldest sister told me that Rong's wife didn’t feel good, what’s wrong with her?” Madam You answered, “This disease seems to be strange. Last month at the Mid-Autumn Festival, she still hung out half the night with Old-Ancestor and madams and came back without any symptoms. After the day of 20th, she became more and more fatigued day by day and felt a lack of appetite. Such situation lasts almost more than half the month. Besides, she hasn't had a period for two nonths.” Madam Xing asked,“Isn’t her pregnant?”&lt;br /&gt;
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As they talked, the servant replied,“The eldest master and the second one, along with their sons, are waiting in the hall.&amp;quot; Hearing that, Treasure Merchant ran towards them hurriedly. Madam You began again at the moment: “One of the former doctor agreed with the fact of pregnancy, but yesterday the doctor recommended by Purple-Ambition diagnosed it as serious illness rather than having a baby. It is said that the doctor was masterful and Feng ever consulted from him. Having a dose of medicine following the guidance of his prescription, the headache seems to relieve, and nothing else.” Sister-Phoenix said: “In my opinion, if she is feeling good, as today’s circumstance, she must struggle to get up.” Madam You sighed: “It was the day of 3rd that you saw her. She struggled for a long time to see you two due to your kindness and at the time of farewell, she even hesitated.”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 06:37, 23 March 2021 (UTC)&lt;br /&gt;
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Lady King said: &amp;quot;Several days ago your eldest sister told me that Prosperity Merchant's wife didn't feel good, what's wrong with her?&amp;quot; Madam Outstanding answered, &amp;quot;This disease seems to be strange. Last month at the Mid-Autumn Festival, she still hung out half the night with Old-Ancestor and madams and came back without any symptoms. After the day of 20th, she became more and more fatigued day by day and felt a lack of appetite. Such situation lasts almost more than half the month. Besides, she hasn't had a period for two months.&amp;quot; Lady City asked,&amp;quot;Isn't her pregnant?&amp;quot;&lt;br /&gt;
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As they talked, the servant replied, &amp;quot;The eldest master and the second one, along with their sons, are waiting in the hall.” Hearing that, Treasure Merchant ran towards them hurriedly. Madam Outstanding began again at the moment: &amp;quot;One of the former doctor agreed with the fact of pregnancy, but yesterday the doctor recommended by Purple-Ambition diagnosed it as serious illness rather than having a baby. It is said that the doctor was masterful and Feng ever consulted from him. Having a dose of medicine following the guidance of his prescription, the headache seems to relieve, and nothing else.&amp;quot; Sister Phoenix said: &amp;quot;In my opinion, if she is feeling good, as today's circumstance, she must struggle to get up.&amp;quot; Madam Outstanding sighed: &amp;quot;It was the day of 3rd that you saw her. She struggled for a long time to see you two due to your kindness and at the time of farewell, she even hesitated.&amp;quot;--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 08:12, 8 June 2021 (UTC)&lt;br /&gt;
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Lady King said, “Several days ago your eldest sister told me that Prosperity Merchant's wife didn’t feel good, what’s wrong with her?” Madam Outstanding answered,“This disease seems to be strange. Last month at the Mid-Autumn Festival, she still hung out half the night with Old-Ancestor and madams and came back without any symptoms. After the day of 20th, she became more and more fatigued day by day and felt a lack of appetite. Such situation lasts almost more than half the month. Besides, she hasn't had a period for two months.” Lady City asked,“Isn’t her pregnant?”&lt;br /&gt;
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As they talked, the servant replied,“The eldest master and the second one, along with their sons, are waiting in the hall.&amp;quot; Hearing that, Treasure Merchant ran towards them hurriedly. Madam Outstanding  began again at the moment, “One of the former doctor agreed with the fact of pregnancy, but yesterday the doctor recommended by Purple-Ambition diagnosed it as serious illness rather than having a baby. It is said that the doctor was masterful and Feng ever consulted from him. Having a dose of medicine following the guidance of his prescription, the headache seems to relieve, and nothing else.” Sister Phoenix said,“In my opinion, if she is feeling good, as today’s circumstance, she must struggle to get up.” Madam Outstanding sighed,“It was the day of 3rd that you saw her. She struggled for a long time to see you two due to your kindness and at the time of farewell, she even hesitated.”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 06:38, 9 June 2021 (UTC)&lt;br /&gt;
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=Dèng Dān 邓丹=&lt;br /&gt;
凤姐听了，眼圈儿红了一会子，方说道：“‘天有不测风云，人有旦夕祸福。’这点年纪，倘或因这病上有个长短，人生在世，有什么趣儿！”&lt;br /&gt;
正说着，贾蓉进来，给邢夫人、王夫人、凤姐儿都请了安，方回尤氏道：“方&lt;br /&gt;
才我给太爷送吃食去，并回说我父亲在家伺候老爷们，款待一家子的爷们，遵太&lt;br /&gt;
爷的话，并不敢来。太爷听了甚欢喜，说：‘这才是。’叫告诉父亲母亲，好生伺候太爷太太们，叫我好生伺候叔叔婶子并哥哥们。还说：‘那《阴骘文》叫他们急刻出来，印一万张散人。’我将此话都回了我父亲了。我这会子还得快出去&lt;br /&gt;
打发太爷们并合家爷们吃饭。”凤姐儿说：“蓉哥儿，你且站着。你媳妇今日到&lt;br /&gt;
底是怎么着？”贾蓉皱皱眉儿说道：“不好么！婶子回来瞧瞧去就知道了。”于是贾蓉出去了。&lt;br /&gt;
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Hearing the news, Xifeng’s eyes became moist. A moment later, she said,“‘Storms gather without warning in nature, and bad luck befalls men overnight’. If an illness can take one away at such a young age, then life must be meaningless.” As she was speaking, Jia Rong came in. After greeting with Madam Xing, Madam Wang and Xifeng, he told his mother, “I‘ve sent some food to my grandfather and told him my father was waiting upon lords and entertaining a roomful of gentlemen, which follows his orders. Grandpa was very pleased with it. He expressed his approval and required me to ask you and father to serve lords while I entertain the younger. Besides, he’d like to have ten thousand copies of Rewards and Punishment printed and distributed. I’ve told my father all of these. I must rush to my home and attend to gentlemen here.” “Wait a minute, Master Rong”, Xifeng cut in, “How ‘s your wife today?” “Not very well. You can go and see her on your way home, aunt”, Jia Rong replied. Jia Rong left without saying anything else.&lt;br /&gt;
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Hearing the news, Splendid Phoenix’s eyes became moist. A moment later, she said,“‘Storms gather without warning naturally, and bad luck befalls men overnight’. If an illness can take one away at a young age, then life is  meaningless.” As she was speaking, Prosperity Merchant came in. After greeting with Lady Xing, Lady King and Splendid Phoenix, he told his mother, “I‘ve sent some food to my grandfather and told him my father was waiting upon lords and entertaining a roomful of gentlemen, which follows his orders. Grandpa was very pleased with it. He expressed his approval and required me to ask you and father to serve lords while I entertain the younger. Besides, he’d like to have ten thousand copies of Rewards and Punishment printed and distributed. I’ve told my father all of these. I must rush to my home and attend to gentlemen here.” “Wait a minute, Master Rong”, Splendid Phoenix cut in, “How ‘s your wife today?” “Not very well. You can go and see her on your way home, aunt”, Prosperity Merchant replied. Prosperity Merchant left and saying nothing .--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 08:01, 9 June 2021 (UTC)Ding Zhongixia&lt;br /&gt;
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=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
这里尤氏向邢夫人王夫人道：“太太们在这里吃饭，还是在园子里吃去？&lt;br /&gt;
有小戏儿现在园子里预备着呢。”王夫人向邢夫人道“这里很好。”尤氏就吩咐&lt;br /&gt;
媳妇婆子们：“快摆饭来。”门外一齐答应了一声，都各人端各人的去了。不多&lt;br /&gt;
时，摆上了饭。尤氏让邢夫人王夫人并他母亲都上坐了，他与凤姐儿宝玉侧席&lt;br /&gt;
坐了。邢夫人王夫人道：“我们来，原为给大老爷拜寿，过岂不是我们来过生日&lt;br /&gt;
来了么？”凤姐儿说：“大老爷原是好养静的，已修炼成了，也算得是神仙了。太太们这么一说，就叫作‘心到神知’了。”一句话说得满屋里都笑起来。&lt;br /&gt;
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尤氏的母亲并邢夫人、王夫人、凤姐儿都吃了饭，漱了口，净了手；才说要往&lt;br /&gt;
园子里去，贾蓉进来向尤氏道：“老爷们并各位叔叔哥哥们都吃了饭了。大老&lt;br /&gt;
爷说家里有事，二老爷是不爱听戏又怕人闹的慌，都去了。&lt;br /&gt;
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Here Mr. You said to Mrs. Wang, Mrs. Xing, &amp;quot;Do the ladies eat here, or go to the garden? Some actors are now in the garden, ready.&amp;quot; Mrs. Wang said to Mrs. Xing, &amp;quot;It's very nice here.&amp;quot; You told his daughter-in-law and mother-in-law: &amp;quot;Hurry up and prepare the food.&amp;quot; There was a reply from the door, and they all went away. Before long, food was laid out. You asked Mrs. Xing, Mrs. Wang and his mother to sit, and he and Sister Feng ，Precious Jade sat at the side. Mrs. Xing Mrs. Wang said: &amp;quot;We come, originally for the old man's birthday, didn't we come to celebrate the birthday?&amp;quot; Sister Feng said, &amp;quot;Your grandfather used to be a man of peace and quiet. He has been trained and is now a god. When ladies say so, they call it 'the unity of man and nature.' The words made all the people in the room laugh.&lt;br /&gt;
You's mother, Mrs. Xing, Mrs. Wang and Sister Feng all ate, rinsed their mouths and cleaned their hands. Then he said to go into the garden. Jia Rong came in and said to You: &amp;quot;The lords and all the brothers and uncles have had dinner. Old master said something at home, two master is not love to listen to the drama and afraid of panic, have gone.&lt;br /&gt;
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=Dù Xīnyǔ 杜心语=&lt;br /&gt;
别的一家子爷们被琏二叔并蔷大爷都让过去听戏去了。方才南安郡王、东平郡王、西宁郡王、北静郡王四家王爷，并镇国公牛府等六家，忠靖侯史府等八家，都差人持名帖送寿礼来，俱回了我父亲，先收在账房里，礼单都上了档子了，领谢名帖都交给各家的来人了，来人也各照例赏过，都让吃了饭去了。母亲该请二位太太、老娘、婶子都过园子里去坐着罢。”尤氏道：“也是才吃完了饭，就要过去了。”凤姐儿说：“我回太太，我先瞧瞧蓉哥媳妇去，我再过去罢。”王夫人道：“很是。我们都要去瞧瞧，倒怕他嫌我们闹的慌，说我们问他好罢。”尤氏道：“好妹妹，媳妇听你的话，你去开导开导他，我也放心。你就快些过园子里来。”宝玉也要跟着凤姐儿去瞧秦氏，王夫人道：“你看看就过去罢，那是侄儿媳妇呢。”于是尤氏请了王夫人邢夫人并他母亲都过会芳园去了。&lt;br /&gt;
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The other family's men are called to the opera by Er Shulian and Qiang. Just now, the four princes of Nan'an, Dongping, Xining and Beijing, the six bulls in Zhenguo, and the eight princes in Zhongjing, all called for people to bring their birthday gifts with them. They all returned to my father's words. These things were collected in the accounting room first. The gift list was registered in the register, and the thank-you notes were handed over to the visitors, All the visitors were rewarded according to the Convention, and they were allowed to leave after dinner. Mother should invite her two wives, grandma and aunt to sit in the garden. &amp;quot; You's daughter-in-law said, &amp;quot;I've just finished my meal. I'm going to pass.&amp;quot; Sister Feng said, &amp;quot;I told my wife that I would go to see brother Rong's daughter-in-law first and then go there.&amp;quot; Mrs. Wang said, &amp;quot;that's good. We'll all go to see her, but we're afraid she thinks we're too noisy. You can go there and say hello for us.&amp;quot; You's daughter-in-law said, &amp;quot;good sister, brother Rong's daughter-in-law will listen to you. You can enlighten him, and I can rest assured. Come to the garden as soon as you've finished Baoyu also wants to follow fengjieer to see the Qin family. Mrs. Wang says, &amp;quot;just go and have a look. How can you say it's also a nephew's daughter-in-law?&amp;quot; So you invited Mrs. Wang, Mrs. Xing and their mother to Huifang garden.&lt;br /&gt;
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=Guō Yàbō 郭亚波=&lt;br /&gt;
凤姐儿宝玉方和贾蓉到秦氏这边来。进了房门，悄悄的走到里间房内，秦&lt;br /&gt;
氏见了要站起来，凤姐儿说：“快别起来，看头晕。”于是凤姐儿紧行了两步，拉住了秦氏的手，说道：“我的奶奶！怎么几日不见，就瘦的这样了！”于是就坐在秦氏坐的褥子上。宝玉也问了好，在对面椅子上坐了。贾蓉叫：“快倒茶来，婶子和二叔在上房还未吃茶呢。”&lt;br /&gt;
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秦氏拉着凤姐儿的手，强笑道：“这都是我没福。这样人家，公公婆婆当自&lt;br /&gt;
家的女儿似的待。婶娘，你侄儿虽说年轻，却是他敬我，我敬他，从来没有红过&lt;br /&gt;
脸儿。就是一家子的长辈同辈之中，除了婶子不用说了，别人也从无不疼我的，&lt;br /&gt;
也从无不和我好的。如今得了这个病，把我那要强的心一分也没有了。公婆面&lt;br /&gt;
前未得孝顺一天儿；就是婶娘这样疼我，我就有十分孝顺的心，如今也不能够&lt;br /&gt;
了。我自想着，未必熬得过年去。”&lt;br /&gt;
&lt;br /&gt;
Splendid Phoenix King and Precious Jade Marchant went with Prosperity Marchant to see Frivolity Grain. They entered her room quietly and when she made an effort to rise Splendid Phoenix King protested, “Don’t. ft would make you dizzy.” She hurried forward to clasp Frivolity Grain‘s hand, exclaiming, “How thin you’ve grown, my poor lady, in the few days since last I saw you!” She sat down on her mattress, while Precious Jade Marchant  also asked after his niece’s health and took a chair opposite. “Bring in tea at once,” called Prosperity Marchant . “My aunt and second uncle had none in the drawing-room.”&lt;br /&gt;
&lt;br /&gt;
Holding Splendid Phoenix King’s hand,Frivolity Grain forced a smile. “Living in a family like this is more than I deserve,” she said. “My father-in-law and mother-in-law treat me as their own daughter. And although your nephew’s young, we have such a regard for each other that we’ve never quarrelled. In fact the whole family, old and young, not to mention you, dear aunt that goes without saying have been goodness itself to me and shown me nothing but kindness. But now that I’ve fallen ill all my will power’s gone, and I haven’t been able to be a good daughter-in-law. I want so much to show how I appreciate your goodness, aunt, but it’s no longer in my power now. I doubt if I shall last the year out.”&lt;br /&gt;
&lt;br /&gt;
--[[User:Huang Fangfang|Huang Fangfang]] ([[User talk:Huang Fangfang|talk]]) 04:44, 24 March 2021 (UTC)&lt;br /&gt;
“Don’t. It would make you dizzy.”&lt;br /&gt;
“Living in a family like this is more than what I deserve,”&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
宝玉正把眼瞅着那“海棠春睡图”并那秦太虚写的“嫩寒锁梦因春冷，芳气&lt;br /&gt;
袭人是酒香”的对联，不觉想起在这里睡晌觉时梦到“太虚幻境”的事来。正在&lt;br /&gt;
出神，听得秦氏说了这些话，如万箭攒心，那眼泪不觉流下来了。凤姐儿见了，&lt;br /&gt;
心中十分难过，但恐病人见了这个样子反添心酸，倒不是来开导他劝解他的意&lt;br /&gt;
思了，因说：“宝玉，你忒婆婆妈妈的了。他病人不过是这样说，那里就到这田&lt;br /&gt;
地？况且年纪又不大，略病病就好。”又回向秦氏道：“你别胡思乱想，岂不是自家添病了么？”贾蓉道：“他这病也不用别的，只吃得下些饭食就不怕了。”凤姐儿道：“宝兄弟，太太叫你快些过去呢。你倒别在这里只管这么着，倒招得媳妇也心里不好过。太太那里又惦着你。”因向贾蓉说道：“你先同你宝叔叔过去；我还略坐坐呢。”贾蓉听说，即同宝玉过会芳园去了。&lt;br /&gt;
&lt;br /&gt;
Precious Jade is staring at the drawing, Malus spectabilis sleeping in spring, and the couplet written by Dimness- Slight cold locks dreams in that cold spring; fragrance permeates people being found as bouquet. He unconsciously remembers &amp;quot;the world of dimness&amp;quot; which he dreamed in his time for a nap here. Being in a trance, hearing what Madam Qin said, Precious Jade sheds tears, his heart like shot by hundreds of thousands of arrows. Seeing this, Sister Phoenix feels extremely upset, afraid that the patient will feel more sad,instead of being comforted that they had planned to do. In this case, Phoenix says:&amp;quot;Precious Jade, how maudlin you are! The patient just is saying so. Things are not so serious. Moreover he is still young and will recover quickly.&amp;quot; Prosperity Merchant comments :&amp;quot; If he can eat something, the disease poses no threat to him. Nothing else is needed.&amp;quot; Sister Phoenix persuades:&amp;quot; Brother, Madam is urgently calling for you. You should not continue to stand here like this, which gets daughter feel uncomfortable. Madam is concerned about you.&amp;quot; Then she says to Prosperity Merchant:&amp;quot; Go following your Uncle Precious Jade. I want to sit for a more while.&amp;quot; Listening to it,Prosperity Merchant goes to Meeting Flowers Garden with Precious Jade.&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
这里凤姐儿又劝解了一番，又低低说了许多衷肠话儿。尤氏打发人来两&lt;br /&gt;
三遍，凤姐儿才向秦氏说道：“你好生养着，我再来看你罢。合该你这病要好了，&lt;br /&gt;
所以前日遇着这个好大夫，再也是不怕的了。”秦氏笑道：“任凭他是神仙，‘治&lt;br /&gt;
了病治不了命’。婶子，我知道这病不过是挨日子的。”凤姐儿说道：“你只管这么想，这那里能好呢？总要想开了才好。况且听得大夫说，若是不治，怕的是春天不好。咱们若是不能吃人参的人家，也难说了；你公公婆婆听见治得好，别说一日二钱人参，就是二斤也吃得起。好生养着罢，我就过园子里去了。”秦氏又道：“婶子，恕我不能跟过去了。闲了的时候还求过来瞧瞧我呢，咱们娘儿们坐坐，多说几句闲话儿。”凤姐儿听了，不觉眼圈儿又红了，说道：“我得了闲儿必常来看你。”&lt;br /&gt;
&lt;br /&gt;
While Lady Phoenix went on to cheer her up and propitiate her, also give some great deal of advice in an undertone. Madam Outstanding had dispatched her servants on two or three times to hurry Sister Phoenix, before that Lady Phoenix said to Mrs. Grain ,&amp;quot; all you can to take good care of yourself and I'll come and visit you again. You definitely will get over this illness; and now it is the fact that you have encountered a famous doctor, so you really have nothing more to fear.&amp;quot; &amp;quot;He might,&amp;quot; Mrs. Grain smiled and said, &amp;quot;even he is a spiritual being and succeed in healing my disease, but he would not be able to remedy my destiny; oh my dear aunt, I am sure that I can do no more than drag on my life day-to-day.&amp;quot; &amp;quot; If you keep such ideas negatively in your mind, how can this illness will get all right?&amp;quot; reprimanded Lady Phoenix,&amp;quot; What you really need is to think in a positive way, and then you will improve. Moreover, I hear that the doctor declares that if no cure is applied, the fear is that your illness will turn worst in spring. Did you and I belong to a family that can not afford any ginseng? If so it would be difficult to say how we could manage to get it; but when your father and mother-in-law hear that it is good for your recovery, needless to say two maces of ginseng a day, but even two catties will be also within their capacity. So, please do take good care of your health! I'm now off on my way to the garden.&amp;quot; &amp;quot;I beg your forgiveness, my dear aunt,&amp;quot; said Mrs. Chin,&amp;quot; that I can't go with you; but when you have free time, I do implore you to come over and visit me! Also, you and I can sit and have a long chat.&amp;quot; After, Lady Phoenix had heard these words, her eyes uncontrollably got quite red again. &amp;quot;When I am at leisure, of course,&amp;quot; she replied,&amp;quot; come often to see you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
While Lady Phoenix went on to cheer her up and propitiate her, also give some great deal of advice in an undertone. Madam Outstanding had dispatched her servants on two or three times to hurry Sister Phoenix, before that Lady Phoenix said to Mrs. Grain,&amp;quot; all you can to take good care of yourself and I'll come and visit you again. You definitely will get over this illness, and now it is the fact that you have encountered a famous doctor, so you really have nothing more to fear.&amp;quot; &amp;quot;He might,&amp;quot; Mrs. Grain smiled and said, &amp;quot;even he is a spiritual being and succeeds in healing my disease, but he would not be able to remedy my destiny; oh my dear aunt, I am sure that I can do no more than drag on my life day-to-day.&amp;quot; &amp;quot; If you keep such ideas negatively in your mind, how can this illness get all right?&amp;quot; reprimanded Lady Phoenix,&amp;quot; What you really need is to think in a positive way, and then you will improve. Moreover, I hear that the doctor declares that if no cure is applied, the fear is that your illness will turn worst in spring. Did you and I belong to a family that can not afford any ginseng? If so it would be difficult to say how we could manage to get it; but when your father and mother-in-law hear that it is good for your recovery, needless to say two maces of ginseng a day, but even two catties will be also within their capacity. So, please do take good care of your health! I'm now off on my way to the garden.&amp;quot; &amp;quot;I beg your forgiveness, my dear aunt,&amp;quot; said Mrs. Chin,&amp;quot; that I can't go with you; but when you have free time, I do implore you to come over and visit me! Also, you and I can sit and have a long chat.&amp;quot; After Lady Phoenix had heard these words, her eyes uncontrollably got quite red again. &amp;quot;When I am at leisure, of course,&amp;quot; she replied,&amp;quot; come often to see you.&amp;quot; --[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 15:21, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
于是带着跟来的婆子媳妇们，并宁府的媳妇婆子们，从里头绕进园子的便&lt;br /&gt;
门来。只见：&lt;br /&gt;
黄花满地，白柳横坡。小桥通若耶之溪，曲径接天台之路。石中清流&lt;br /&gt;
滴滴，蓠落飘香；树头红叶翩翩，疏林如画。西风乍紧，犹听莺啼；暖日常&lt;br /&gt;
喧，又添蛩语。遥望东南，建几处依山之榭；近观西北，结三间临水之轩。&lt;br /&gt;
笙黄盈座，别有幽情；罗绮穿林，倍添韵致。&lt;br /&gt;
&lt;br /&gt;
凤姐儿正看园中景致，一步步行来，正赞赏时，猛然从假山石后走出一个人来，&lt;br /&gt;
向前对凤姐说道：“请嫂子安。”凤姐儿猛一惊，将身往后一退，说道：“这是瑞大爷不是？”贾瑞说道：“嫂子连我也不认得了？”凤姐儿道：“不是不认得，猛然一见，想不到是大爷在这里。”&lt;br /&gt;
&lt;br /&gt;
With the maids who flowed her and some maids from Ning Mansion, she walked into the side gate of the garden from inside. Then she saw: Yellow flowers covered the ground, and white willows through the slopes. A small bridge led to the stream of Ruoye, and a winding path connects to quiet retreats. Clear stream welled from the rocks, and fragrance wafted from the flowers; The red leaves of the tree-tops swayed, and the sparse forest is as a painting. The west wind was chilly, but the song of orioles still could be heard and rickets were still chirping in the warm sunshine. At the far southeast, cottages nestled among the hills; On the close northwest, pavilions brooded over the lake water. Fluting cast a subtle enchantment over men’s senses, and silk-gowned girls strolling through the woods, adding to the charm of the scene.&lt;br /&gt;
&lt;br /&gt;
Xifeng was strolling along, enjoying the sight of the garden when a man suddenly appeared from the artificial rockery and greeted to her: “Greetings, sister-in-law.” She stepped back, startled, and said: “Is it Master Rui?” Jia Rui said, “Don’t tell me you don’t know me.” “It’s not that I don't recognize you. But your appearance surprised me.” Xifeng Replied.&lt;br /&gt;
&lt;br /&gt;
With the maids who flowed her and some maids from Ning Mansion, she walked into the side gate of the garden from inside. Then she saw: Yellow flowers covered the ground, white willows along the slope. A small bridge led to the stream of Ruoye, and a winding path was connected to quiet retreats. Clear stream flow among the rocks, and fragrance wafted from the flowers; The red leaves of the tree-tops swayed, and the sparse forest is as beautiful as a painting. The west wind was chilly, but the song of orioles still could be heard and rickets were still chirping in the warm sunshine.On the far southeast, cottages nestled among the hills; On the close northwest, pavilions brooded over the lake water. Fluting cast a subtle enchantment over men’s senses, and silk-gowned girls strolled through the woods, adding to the charm of the scene.&lt;br /&gt;
Xifeng was strolling along, enjoying the view of the garden when a man suddenly appeared from the artificial rockery and greeted her: “Greetings, sister-in-law.” She stepped back, startled, and said: “Is it Master Rui?” Jia Rui said, “Don’t tell me you don’t know me.” “It’s not that I don't recognize you. But your appearance surprised me.” Xifeng replied.--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 07:09, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
With the maids who flowed her and some maids from Ning Mansion, she walked into the side gate of the garden from inside. Then she saw: Yellow flowers covered the ground, and white willows through the slopes. A small bridge led to the stream of Ruoye, and a winding path connects to quiet retreats. Clear stream welled from the rocks, and fragrance wafted from the flowers; The red leaves of the tree-tops swayed, and the sparse forest is as a painting. The west wind was chilly, but the song of orioles still could be heard and rickets were still chirping in the warm sunshine. At the far southeast, cottages nestled among the hills; On the close northwest, pavilions brooded over the lake water. Fluting cast a subtle enchantment over men’s senses, and silk-gowned girls strolling through the woods, adding to the charm of the scene.&lt;br /&gt;
&lt;br /&gt;
Sister Phoenix was strolling along, enjoying the sight of the garden when a man suddenly appeared from the artificial rockery and greeted to her: “Greetings, sister-in-law.” She stepped back, startled, and said: “Is it Master Rui?” Omen Merchant said, “Don’t tell me you don’t know me.” “It’s not that I don't recognize you. But your appearance surprised me.” Sister Phoenix Replied.&lt;br /&gt;
&lt;br /&gt;
--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 16:34, 26 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
贾瑞道：“也是合该我与嫂子有缘。我方才偷出了席，在这里清净地方略散一散，不想就遇见嫂子。这不是有缘么？”一面说着，一面拿眼睛不住的观看凤姐。&lt;br /&gt;
&lt;br /&gt;
凤姐是个聪明人，见他这个光景，如何不猜八九分呢，因向贾瑞假意含笑&lt;br /&gt;
道：“怪不得你哥哥常提你，说你好。今日见了，听你这几句话儿，就知道你是个聪明和气的人了。这会子我要到太太们那边去呢，不得合你说话，等闲了再会&lt;br /&gt;
罢。”贾瑞道：“我要到嫂子家里去请安，又怕嫂子年轻，不肯轻易见人。”凤姐又假笑道：“一家骨肉，说什么年轻不年轻的话。”贾瑞听了这话，心中暗喜，因想道：“再不想今日得此奇遇！”那情景越发难堪了。凤姐儿说道：“你快去入席去罢，看他们拿住了，罚你的酒。”贾瑞听了，身上已木了半边，慢慢的走着，一面回过头来看。凤姐儿故意的把脚放迟了，见他去远了，心里暗忖道：“这才是‘知人知面不知心’呢。那里有这样禽兽的人？他果如此，几时叫他死在我手里，他才知道我的手段！”&lt;br /&gt;
&lt;br /&gt;
Jia Rui said, “ There must be fate for us to meet. I just sneaked off from the feast and relaxed here before I meet you. Isn’t it destined?”  He said this while glaring at Xifeng. Xifeng was clever and almost knew why he was here once seeing his reactions. So she pretended to smile and said, “No wonder your brother often mentioned your goodness. When I meet you today and hear your words, I can safely assume that you are a clever man. But I am going to where wives stay and unable to chat with you any longer. What about talking next time when I am available?” Jia Rui said, “ I had intended to go to your place and greet you, but I am afraid that you are  too timid to meet me.” She simpered, “We are a family so there is no such thing as timidity.” Hearing this, Jia Rui was secretly pleased and thought, “I didn’t expect this.” His expressions became embarrassing. So Xifeng said, “ You’d better go back to the feast, or they will punish you to drink if you are caught sneaking off.” Hearing this, Jia Rui turned back and walked slowly with half of his body numb when he looked back several times.” Xifeng slowed down deliberately to enlarge the distance in between and thought, “ It is ‘ Cats hide their claws’ indeed. No one would be worse than him in words and deeds. If he continued to act like this, I will give him a hard time.”&lt;br /&gt;
&lt;br /&gt;
Jia Rui said, “ There must be fate for us to meet. I just sneaked off from the feast and relaxed here before I meet you. Isn’t it destined?”  He said this while glaring at Splendid Phoenix King. Splendid Phoenix King was clever and almost knew why he was here once seeing his reactions. So she pretended to smile and said, “No wonder your brother often mentioned your goodness. When I meet you today and hear your words, I can safely assume that you are a clever man. But I am going to where wives stay and unable to chat with you any longer. What about talking next time when I am available?” Jia Rui said, “ I had intended to go to your place and greet you, but I am afraid that you are  too timid to meet me.” She simpered, “We are a family so there is no such thing as timidity.” Hearing this, Jia Rui was secretly pleased and thought, “I didn’t expect this.” His expressions became embarrassing. So Splendid Phoenix King said, “ You’d better go back to the feast, or they will punish you to drink if you are caught sneaking off.” Hearing this, Jia Rui turned back and walked slowly with half of his body numb when he looked back several times.” Splendid Phoenix King slowed down deliberately to enlarge the distance in between and thought, “ It is ‘ Cats hide their claws’ indeed. No one would be worse than him in words and deeds. If he continued to act like this, I will give him a hard time.”                 –Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
于是凤姐儿方移步前来。将转过了一重山坡儿，见两三个婆子慌慌张张&lt;br /&gt;
的走来，见凤姐儿，笑道：“我们奶奶见二奶奶不来，急的了不得，叫奴才们又来请奶奶来了。”凤姐儿说：“你们奶奶就是这样‘急脚鬼’似的。”凤姐儿慢慢的走着，问：“戏文唱了几出了？”那婆子回道：“唱了八九出了。”说话之间，已到天香楼后门，见宝玉和一群丫头小子们那里玩呢，凤姐儿说：“宝兄弟，别忒淘气了。”一个丫头说道：“太太们都在楼上坐着呢，请奶奶就从这边上去罢。”&lt;br /&gt;
&lt;br /&gt;
凤姐儿听了，款步提衣上了楼，尤氏已在楼梯口等着。尤氏笑道：“你们娘&lt;br /&gt;
儿两个忒好了，见了面总舍不得来了。你明日搬来和他同住罢。你坐下，我先&lt;br /&gt;
敬你一钟。”于是凤姐儿至邢夫人王夫人前告坐。尤氏拿戏单来让凤姐儿点&lt;br /&gt;
戏，凤姐儿说：“太太们在上，如何敢点。”&lt;br /&gt;
&lt;br /&gt;
So Splendid Phoenix King moves forward. Just when she turns around a rockery, there are two or three women servants coming towards her in a flurry and smiling to Splendid Phoenix King, with saying,&amp;quot;Without seeing you, my owner is anxious and orders me to invite you again.&amp;quot; Splendid Phoenix King replies,&amp;quot;Your owner always is a pepper box.&amp;quot; And then Splendid Phoenix King walks forward slowly and asks where  the drama goes. And a servant answers,&amp;quot;It has finished eight or nine chapters. &amp;quot; Just talking, they have been in front of the back door of Tian Xian Lou and catch sight of Precious Jade playing with other guys. So Splendid Phoenix King jokes with Precious Jade, saying he is too naughty. After this, a girl servant says to Splendid Phoenix King,&amp;quot; Please in this way, Others are sitting upstairs. After this, Splendid Phoenix King, lifting her skirt, goes upstairs elegantly and slowly. Meanwhile, Madam Outstanding has waited in the stairs to welcome her. “Once you and Precious Jade meet each other, you always are not unwilling to leave. You are so much intimate. Tomorrow you move to us and live with him. But at first, please sit down and drink my toast”, Madam Outstanding says smilingly. So Splendid Phoenix King goes respectfully in front of Lady King and Lady City and greets with them. And then she sits down. Mrs. You gives a menu about picking up dramas to Splendid Phoenix King. However, Splendid Phoenix King refuses and says, “ It is impolite to choose one on the occasion where seniority are here.”      ——Li Yihao&lt;br /&gt;
&lt;br /&gt;
So Xi-feng moves forward. Just when she turns around a rockery, there are two or three women servants coming towards her in a flurry. They say to Xi-feng, smiling:&amp;quot;Madam feels anxious without seeing you, so she  orders us to invite you again.&amp;quot; Xi-feng replies:&amp;quot;Madam is a pepperbox.&amp;quot; As Xi-feng walks forward slowly while asking where the drama goes, a servant answers:&amp;quot;It has been finished eight or nine chapters. &amp;quot; During the talk, they have been in front of the back door of Tian Xian Pavilion. Catching sight of Precious Jade playing with other guys, Xi-feng jokes with him, saying he is too naughty. After this, a girl servant says to Xi-feng:&amp;quot; This way, please. Ladies are sitting upstairs. ”&lt;br /&gt;
Then, Xi-feng, lifting her skirt, goes upstairs slowly and elegantly, while Mrs. You has waited in the stairs to welcome her. “Once you and Precious Jade meet each other, you are always glued to each other. You are so much intimate. Tomorrow you move to us and live with him. But at first, please sit down and I'll toast to you first.” says Mrs. You, smilingly. So Xi-feng goes respectfully in front of Mrs. Wang and Mrs. Xing and greets with them. Then she sits down. Mrs. You gives a menu about plays to Xi-feng. However, Xi-feng refuses and says, “ It is impolite to choose first when ladies are on the spot.”&lt;br /&gt;
&lt;br /&gt;
P.S.:Maybe using the past tense is better than the present tense.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 17:41, 23 March 2021 (UTC)Liu Tingyang&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
邢夫人王夫人说道：“我们和亲家太太点了好几出了，你点几出好的我们听。”凤姐儿立起身来答应了，接过戏单来，从头一看，点了一出《还魂》，一出《弹词》，递过戏单来，说：“现在唱的这《双官诰》完了，再唱这两出，也就是时候了。”王夫人道：“可不是呢，也该趁早叫你哥哥嫂子歇歇，他们心里又不静。”尤氏说道：“太太们又不是常来的，娘儿们多坐一会子去，才有趣，天气还早呢。”凤姐儿立起身来望楼下一看，说：“爷们都往那里去了？”傍边一个婆子道：“爷们才到凝曦轩，带了十番那里吃酒去了。”凤姐儿道：“在这里不便宜，背地里又不知干什么去了。”尤氏笑道：“那里都像你这么正经人呢。”&lt;br /&gt;
&lt;br /&gt;
于是说说笑笑，点的戏都唱完了，方才撤下酒席，摆上饭来。吃毕，大家才&lt;br /&gt;
出园子来，到上房坐下，吃了茶，才叫预备车，向尤氏的母亲告了辞。尤氏率同&lt;br /&gt;
众姬妾并家人媳妇们送出来，贾珍率领众子侄存车旁侍立，都等候着，见了邢王&lt;br /&gt;
二夫人，说道：“二位婶子明日还过来逛逛。”&lt;br /&gt;
&lt;br /&gt;
Lady Xing and Lady Wang said: “Mrs You and us have already chosen a number of plays,so It’s your term to choose several good plays for us.”Xi-feng replied to her politely, and with a quick look around the playbill, she picked out a play named The Return of the Soul and the other named The Palace of Eternal Youth. “After they finish the Faithful Bi-lian and these two plays,” she said, “ it will be enough for the day.”Lady Wang said: “Exactly. We ought to let them have a good rest, for they have a lot on their minds.” Madam You said: “ It isn’t often for you madam both come to join us. Please stay longer in here and it will be much fun to do; also, it’s quite early now.” “Where have those gentlemen gone to?” Xi-feng inquired, standing up to observe the downstairs. An old woman answered: “They have just gone off with the band to the Frozen Sunlight Pavilion to have a drink.” XI-feng said: “This place is much better than that. God knows what they going to do behind our backs!” Madam replied: “Not everyone is as decent as you.”&lt;br /&gt;
As they laughed and chatted, those plays finally were finished, and feast was removed from the table and rice was served. When they finished their dinner, all of them leaved the park, came to the main reception room to have tea together, after which carriages were prepared and they bade farewell to Madam You’s mother. Madam You took her leave of them with other wife and concubines, as Jia Zhen at the head of the junior male members of his family stood behind the carriages. “ Ladies, please come again tomorrow.”Jia Zhen said to Lady Xing and Lady Wang.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 11:25, 23 March 2021 (UTC)Liu Tingyang&lt;br /&gt;
&lt;br /&gt;
Lady Xing and Lady Wang said: “Mrs You and we have already ordered a number of plays,so It’s your term to choose several good plays for us.”Xi-feng set up and responsed to her politely. Then, she took the playbill. With a quick look around it, she picked out a play named The Return of the Soul and the other named The Palace of Eternal Youth. Returning the playbill,“After they finish the Faithful Bi-lian and these two plays,” she said, “ it will be enough for the day.”Lady Wang said: “Exactly. We ought to let them have a good rest, for they have a lot on their minds.” Madam You said: “ It isn’t common for you madam  to come to join us. Please stay longer and there will be much fun; also, it’s quite early now.” “Where have those gentlemen gone to?” Xi-feng inquired, standing up to observe the downstairs. An old woman next her answered: “They have just gone off with the band to the Frozen Sunlight Pavilion to have a drink.” Xi-feng said: “This place is much better than that. God knows what they are going to do behind our backs!” Madam You laughed and replied: “Not everyone is as decent as you.”&lt;br /&gt;
As they laughed and chatted, those plays were finally finished, and rice was served, replacing the liquors. When they finished their dinner, all of them leaved the courtyard, and came to the main reception room to have tea together. After that, they asked for preparing carriages and bade farewell to Madam You’s mother. Madam You accompanied the guests to go out with other wife and concubines, as Jia Zhen at the head of the junior male members of his family stood behind the carriages. “ Ladies, please come again tomorrow.”Jia Zhen said to Lady Xing and Lady Wang.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 12:37, 23 March 2021 (UTC)&lt;br /&gt;
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Lady Xing and Lady Wang said: “Madam Outstanding and we have already ordered a number of plays,so It’s your term to choose several good plays for us.”Splendid Phoenix King set up and responsed to her politely. Then, she took the playbill. With a quick look around it, she picked out a play named The Return of the Soul and the other named The Palace of Eternal Youth. Returning the playbill,“After they finish the Faithful Bi-lian and these two plays,” she said, “ it will be enough for the day.”Lady Wang said: “Exactly. We ought to let them have a good rest, for they have a lot on their minds.” Madam Outstanding said: “ It isn’t common for you madam to come to join us. Please stay longer and there will be much fun; also, it’s quite early now.” “Where have those gentlemen gone to?” Splendid Phoenix King inquired, standing up to observe the downstairs. An old woman next her answered: “They have just gone off with the band to the Frozen Sunlight Pavilion to have a drink.” Splendid Phoenix King said: “This place is much better than that. God knows what they are going to do behind our backs!” Madam Outstanding laughed and replied: “Not everyone is as decent as you.” As they laughed and chatted, those plays were finally finished, and rice was served, replacing the liquors. When they finished their dinner, all of them leaved the courtyard, and came to the main reception room to have tea together. After that, they asked for preparing carriages and bade farewell to Madam Outstanding’s mother. Madam Outstanding accompanied the guests to go out with other wife and concubines, as Treasure Merchant at the head of the junior male members of his family stood behind the carriages. “ Ladies, please come again tomorrow.”Treasure Merchant said to Lady Xing and Lady Wang.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 11:50, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
王夫人道：“罢了，我们今儿整坐了一日，也乏了，明日也要歇歇。”于是都上车去了。贾瑞犹不住拿眼看着凤姐儿。贾珍进去后，李贵才拉过马来，宝玉骑上，随了王夫人去了。&lt;br /&gt;
&lt;br /&gt;
这里贾珍同一家子的弟兄子侄吃过饭，方大家散了。次日，仍是众族人等&lt;br /&gt;
闹了一日，不必细说。此后凤姐不时亲自来看秦氏。秦氏也有几日好些，也有&lt;br /&gt;
几日歹些。贾珍、尤氏、贾蓉好不焦心。&lt;br /&gt;
&lt;br /&gt;
且说贾瑞到荣府来了几次，偏都值凤姐儿往宁府去了。这年正是十一月&lt;br /&gt;
三十日冬至。到交节的那几日，贾母、王夫人、凤姐儿日日差人去看秦氏。回来&lt;br /&gt;
的人都说：“这几日未见添病，也未见甚好。”王夫人向贾母说：“这个症候，遇着这样节气，不添病就有指望了。”&lt;br /&gt;
&lt;br /&gt;
Lady Wang said, “No, we are tired after having sit for a whole day. It’s time to have a rest tomorrow.” Then, they all get into their carriages. Omen Jia still could not help looking at Lady Phoenix . After Treasure Zhen went into the house, Nobility Li led a horse and came here. Precious Jade mounted the horse and followed Lady Wang to leave.&lt;br /&gt;
Here Treasure Jia had finished the dinner with his brothers, sons and nephews. Then, they were all dismissed. Next day, clansmen continued to be in jollification and nothing deserved narrating in detail. Since then, Lady Phoenix had come to visit Mrs. Qin in person several times. Mrs. Qin felt better in some days also worse in some days. Treasure Jia, Mrs. You and Lotus Jia worried her very much.&lt;br /&gt;
Let us talk about Omen Jia. He went to Rong Mansion several times, only to find that Lady Phoenix had gone to Ning Mansion. The winter solstice fell on November 30th that year. When two solar terms alternated, Lady Dowager, Lady Wang and Lady Phoenix send servants to visit Mrs. Qin every day. Those who came back from Mrs. Qin all said, “her body is not better and worse these days.” “Facing such a serious disease and such a solar term, it is hopeful if there is no aggravations,” Lady Wang said to Lady Dowager.&lt;br /&gt;
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Lady Wang said, “No, we are tired after sitting for a whole day. It’s time to have a rest tomorrow.” Then, they all get into their carriages. Omen Jia still could not help looking at Lady Phoenix. After Treasure Zhen went into the house, Nobility Li led a horse and came here. Precious Jade mounted the horse and followed Lady Wang to leave. &lt;br /&gt;
&lt;br /&gt;
Here Treasure Jia had finished dinner with his brothers, sons and nephews. They were all dismissed. The next day, clansmen continued to be in jollification and nothing deserved narrating in detail. Since then, Lady Phoenix had come to visit Mrs. Qin in person several times. Mrs. Qin felt better on some days and also worse on some days. Treasure Jia, Mrs. You and Lotus Jia worried about her very much.&lt;br /&gt;
&lt;br /&gt;
Let us talk about Omen Jia. He went to Rong Mansion several times, only to find that Lady Phoenix had gone to Ning Mansion. The winter solstice fell on November 30th that year. When two solar terms alternated, Lady Dowager, Lady Wang and Lady Phoenix send servants to visit Mrs. Qin every day. Those who came back from Mrs. Qin all said, “her body is not better and worse these days.” “Facing such a serious disease and such a solar term, it is hopeful if there is no aggravations,” Lady Wang said to Lady Dowager.&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 05:52, 24 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Lady Wang said, “No, we are tired after having sit for a whole day. It’s time to have a rest tomorrow.” Then, they all get into their carriages. Omen Jia still could not help looking at Splendid Phoenix . After Cousin Zhen went into the house, Expensive Gift led a horse and came here. Precious Jade mounted the horse and followed Lady Wang to leave.&lt;br /&gt;
Here Cousin Zhen had finished the dinner with his brothers, sons and nephews. Then, they were all dismissed. Next day, clansmen continued to be in jollification and nothing deserved narrating in detail. Since then, Splendid Phoenix had come to visit Mrs. Qin in person several times. Mrs. Qin felt better in some days also worse in some days. Treasure Jia, Madam You and Lotus Jia worried her very much.&lt;br /&gt;
Let us talk about Omen Jia. He went to Rong Mansion several times, only to find that Splendid Phoenix had gone to Ning Mansion. The winter solstice fell on November 30th that year. When two solar terms alternated, Lady Grandma, Lady Wang and Splendid Phoenix send servants to visit Mrs. Qin every day. Those who came back from Mrs. Qin all said, “her body is not better and worse these days.” “Facing such a serious disease and such a solar term, it is hopeful if there is no aggravations,” Lady Wang said to Lady Grandma.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 14:06, 24 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
贾母说：“可是呢，好个孩子，若有个长短，岂不叫人疼死。”说着，一阵心酸，向凤姐儿说道：“你们娘儿们好了一场，明日大初一，过了明日，你再看看他去。你细细的瞧瞧他的光景，倘或好些儿，你回来告诉我。那孩子素日爱吃什么，你也常叫人送些给他。”&lt;br /&gt;
&lt;br /&gt;
凤姐儿一一答应了。到初二日，吃了早饭，来到宁府里，看见秦氏光景，虽&lt;br /&gt;
未添甚病，但那脸上身上的肉都瘦干了。于是和秦氏坐了半日，说了些闲话，又&lt;br /&gt;
将这病无妨的话开导了一番。秦氏遭：“好不好，春天就知道了。如今现过了&lt;br /&gt;
冬至，又没怎么样，或者好的了也未可知。婶子回老太太、太太放心罢。昨日老&lt;br /&gt;
太太赏的那枣泥馅的山药糕，我倒吃了两块，倒像克化的动的似的。”凤姐儿道：&lt;br /&gt;
“明日再给你进来。我到你婆婆那里瞧瞧，就要赶着回去回老太太话去。”秦氏&lt;br /&gt;
道：“婶子替我请老太太、太太的安罢。”&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
The Eldest Madam Jia said, &amp;quot;That's just the way it is. She is a good child, and if something unfortunate happened to her, would it not be very heartbreaking?&amp;quot; As she spoke, she felt a pang of sadness and said to Wang Xifeng, &amp;quot;You two girls are good friends, and tomorrow is the first of January in the lunar calendar, after tomorrow you should visit her again. Watch her carefully and let me know the message when you get back if she's better. Ask someone to send things that child usually like to eat to her from time to time.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Wang Xifeng promised to do so. On the second day of January in the lunar calendar, she went to the Ning Mansion after breakfast and saw the condition of the young lady Qin, who was not suffering from any new illnesses but had lost too much weight on her face and body. Then Wang Xifeng and Madam Qin sat together for half a day, chatting for a while and saying things like &amp;quot;this illness is not too serious&amp;quot; to enlighten her. Madam Qin said, &amp;quot;We'll know if she'll be cured by spring. Now that the winter solstice has passed, there is no sign of improvement about her illness, or perhaps the disease has already been cured. Auntie, please tell The Eldest Madam Jia and Madam Wang that there’s no need to worry too much. I ate two pieces of the yam cake stuffed with red dates that the old lady sent here yesterday, and it was quite digestible.&amp;quot; Wang Xifeng said, &amp;quot;Tomorrow I will send you some more. I'll pay a visit to your mother-in-law's place and have to rush back to reply to the old lady.&amp;quot; Madam Qin said, &amp;quot;Auntie, please give my regards to the old lady and madam.&amp;quot;&lt;br /&gt;
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--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 05:41, 24 March 2021 (UTC)&lt;br /&gt;
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&lt;br /&gt;
&lt;br /&gt;
Grandma Merchant said, &amp;quot;That's just the way it is. She is a good child, and if something unfortunate happened to her, would it not be very heartbreaking?&amp;quot; As she spoke, she felt a pang of sadness and said to Splendid Phoenix King, &amp;quot;You two girls are good friends, and tomorrow is the first of January in the lunar calendar, after tomorrow you should visit her again. Watch her carefully and let me know the message when you get back if she's better. Ask someone to send things that child usually like to eat to her from time to time.&amp;quot;&lt;br /&gt;
Splendid Phoenix King promised to do so. On the second day of January in the lunar calendar, she went to the Ning Mansion after breakfast and saw the condition of Frivolity Grain, who was not suffering from any new illnesses but had lost too much weight on her face and body. Then Splendid Phoenix King and Frivolity Grain sat together for half a day, chatting for a while and saying things like &amp;quot;this illness is not too serious&amp;quot; to enlighten her. Frivolity Grain said, &amp;quot;We'll know if I'll be cured by spring. Now that the winter solstice has passed, there is no sign of improvement about my illness, or perhaps the disease has already been cured. Auntie, please tell Grandma Merchant and Lady King that there’s no need to worry too much. I ate two pieces of the yam cake stuffed with red dates that the old lady sent here yesterday, and it was quite digestible.&amp;quot; Splendid Phoenix King said, &amp;quot;Tomorrow I will send you some more. I'll pay a visit to your mother-in-law's place and have to rush back to reply to Grandma Merchant .&amp;quot; Frivolity Grain said, &amp;quot;Auntie, please give my regards to Grandma Merchant and Lady King .&amp;quot;&lt;br /&gt;
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--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 08:09, 28 April 2021 (UTC)&lt;br /&gt;
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 That's just the way it is.She is a good child →  However,she is a good child. --[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 05:58, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
凤姐儿答应着就出来了，到了尤氏上房坐下。尤氏道：“你冷眼瞧媳妇是&lt;br /&gt;
怎么样？”凤姐儿低了半日头，说道：“这个就没法儿了。你也该将一应的后事&lt;br /&gt;
给他料理料理，冲一冲也好。”尤氏道：“我也暗暗的叫人预备了。就是那件东&lt;br /&gt;
西不得好木头，且慢慢的办着呢。”于是凤姐儿吃了茶，说了一会子话儿，说道：&lt;br /&gt;
“我要快些回去回老太太的话去呢。”尤氏道：“你可缓缓的说，别吓着老人家。”&lt;br /&gt;
&lt;br /&gt;
凤姐儿道：“我知道。”&lt;br /&gt;
&lt;br /&gt;
于是凤姐儿就回来了，到家中，见了贾母，说：“蓉哥媳妇请老太太安，给老&lt;br /&gt;
太太磕头，说他好些了。求老祖宗放心罢。他再略好些，还给老祖宗磕头请安&lt;br /&gt;
来呢。”贾母道：“你看他是怎么样？”凤姐儿说：“暂且无妨，精神还好呢。”贾母听了，沉吟了半日，因向凤姐说：“你换换衣服歇歇去罢。”&lt;br /&gt;
Promising to do so,Xifeng left. She went to sit with Madam You who asked, &amp;quot;Tell me frankly, how did you do so?&amp;quot; Xifeng lowered her head for a while. &amp;quot;There seems to be little hope,&amp;quot; she said at last. &amp;quot;If I were you I'd make ready the things for the funeral. That may break the bad luck.&amp;quot; &amp;quot;I'v had them secretly prepared. But I can't get any good wood for you know what, so I've let that go for the time being.&amp;quot;&lt;br /&gt;
After drinking some tea and chatting a little longer. Xifeng said she must go back to report to the lady Dowager. &amp;quot;Don't break it to her yet,&amp;quot; said Madam You. &amp;quot;We don't want alarm the old lady.&amp;quot; Xifeng agreed to this and took her leave. Home again, she told the lady Dowager, &amp;quot;Rong's wife sends her respects and kowtows to you. She says she's better and you mustn't worry. When she's a little stronger, she'll come herself to kowtow and pay her respects.&amp;quot;&lt;br /&gt;
&amp;quot;How did he seem?&amp;quot; &amp;quot;For the present there's nothing to fear. She's in good spirits.&amp;quot; The lady Dowager thought this over, then said, &amp;quot;Go and change your clothes now and rest.&amp;quot;--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 14:41, 22 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
1. Xifeng → Lady Phoenix &lt;br /&gt;
&lt;br /&gt;
2. Tell me frankly, how did you do so? → Tell me frankly, how about her illness?&lt;br /&gt;
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3. Xifeng said she must go back to report to the lady Dowager. → Lady Phoenix said she need to hurry back to reply to Lady Dowager. &lt;br /&gt;
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4. When she's a little stronger → After she feels better&lt;br /&gt;
&lt;br /&gt;
5. How did he seem? → How do you think of her health after seeing her?&lt;br /&gt;
&lt;br /&gt;
6. Go and change your clothes now and rest. → Go to change your clothes and have a rest.&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 04:19, 24 March 2021 (UTC)&lt;br /&gt;
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=Sū Xiāo 苏潇=&lt;br /&gt;
凤姐儿答应着出来，见过了王夫人，到了家中，平儿将烘的家常衣服给凤&lt;br /&gt;
姐儿换上了。凤姐儿坐下，问：“家中没有什么事么？”平儿方端了茶来，递了过去，说道：“没有什么事。就是那三百两银子的利银，旺儿媳扫送进来，我收了。再有瑞大爷使人来打听奶奶在家没有，他要来请安说话。”凤姐儿听了，哼了一声，说道：“这畜生合该作死，看他来了怎么样！”平儿回道：“这瑞太爷是为什么只管来？”凤姐儿遂将九月里在宁府园子里遇见他的光景，他说的话，都告诉了平儿。平儿说道：“‘癞蛤蟆想吃天鹅肉’，没人伦的混账东西，起这样念头，叫他不得好死！”凤姐儿道：“等他来了，我自有道理。”不知贾瑞来时作何光景，且听下回分解。&lt;br /&gt;
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Sister Phoenix gave a response and then came out from Grandma Merchant’s room. After meeting with Lady King, Sister Phoenix were dressed in informal clothes that had been dried by Patience. Sitting down, Sister Phoenix asked, “Is there anything wrong at home?” Patience was just serving the tea and passed it to Sister Phoenix, saying “Nothing special. Just Vigor’s wife sent three hundred taels of silver as the profit. I accepted. And Omen Merchant sent someone to inquire if you were at home and he would like to visit you.” Hearing this, Sister Phoenix said with a grunt:”This beast deserves to die. I’ll see what he will do here.” Patience replied,” Why had Omen Merchant been keeping coming?” Sister Phoenix then told Patience what happened and what he said to her when she met him in the garden of Peace Mansion in September. Patience said:”It’s totally a pie in the sky! That son of a bitch wouldn’t have a good end to hold such an unethical thought!” Sister Phoenix said,”I have my own way after he comes.”  If you want to know what happened to Omen Merchant afterwards, read next chapter for disclosure.--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 15:34, 23 March 2021 (UTC)&lt;br /&gt;
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1.visit you — pay his respects &lt;br /&gt;
&lt;br /&gt;
2.three hundred taels of silver as profit — the interest on that three hundred taels of silver &lt;br /&gt;
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3.I’ll see what he will do here — Just see what I do to the beast if he comes!&lt;br /&gt;
--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 23:50, 23 March 2021 (UTC)&lt;br /&gt;
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=Tāng Huì 汤惠=&lt;br /&gt;
◎第十二回 王熙凤毒设相思局  贾天祥正照风月鉴&lt;br /&gt;
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话说凤姐正与平儿说话，只见有人回说：“瑞大爷来了。”凤姐命：“请进来&lt;br /&gt;
罢。”贾瑞见请，心中暗喜。见了凤姐，满面陪笑，连连问好。凤姐儿也假意殷勤让坐让茶。贾瑞见凤姐如此打扮，越发酥倒，因饧了眼问道：“二哥哥怎么还不回来？”凤姐道：“不知什么缘故。”贾瑞笑道：“别是路上有人绊住了脚，舍不得回来了？”凤姐道：“可知男人家见一个爱一个也是有的。”贾瑞笑道：“嫂子这话错了，我就不是这样。”凤姐笑道：“像你这样的人能有几个呢，十个里也挑不出一个来。”&lt;br /&gt;
&lt;br /&gt;
贾瑞听了，喜的抓耳挠腮，又道：“嫂子天天也闷的很。”凤姐道：“正是呢，&lt;br /&gt;
只盼个人来说话解解闷儿。&lt;br /&gt;
Chapter 12&lt;br /&gt;
Lady Phoenix Sets a Vicious Trap for Omen Merchant&lt;br /&gt;
Omen Merchant Looks into the Wrong Side of the Precious Mirror of Wind and Moon &lt;br /&gt;
&lt;br /&gt;
While Lady Phoenix was talking to Patience, someone told her that “Omen Merchant comes”. Lady Phoenix ordered, “let him in.” Omen Merchant was pleased to see her let him admitted at once. When saw Lady Phoenix, he greeted her effusively and beamed with smiles.Lady Phoenix also pretended to offer a seat and a tea graciously. Omen Merchant sawLady Phoenix dressed like this, he was even more charmed by her. Gazing explicitly at her he asked: “why isn’t Second Brother home yet?” “I don’t know.” “Perhaps he’s been caught by someone and can’t tear himself away?” “Perhaps. Men are like that. They love everyone they meet.” “Not all of us, sister-in-law. I’m not like that.” “How many are there like you? Not one in ten.”&lt;br /&gt;
Hearing that, Omen Merchant tweaked his ears and rubbed his cheeks with delight, he continued, “you must be very bored here everyday.”Lady Phoenix said, “yes indeed. I keep wishing someone would drop in to chat with me and cheer me up.”&lt;br /&gt;
&lt;br /&gt;
1. Xifeng- Lady Phoenix; Jia Rui- Omen Merchant&lt;br /&gt;
&lt;br /&gt;
2. “let him in.”“why isn’t Second Brother home yet?”- capitalize the first letter of the sentence in the quotation marks&lt;br /&gt;
&lt;br /&gt;
3. &amp;quot;Jia Rui was pleased to see her let him admitted at once.&amp;quot;“yes indeed...&amp;quot;- awkward expression, maybe it can be changed into into &amp;quot;pleased to know he was permitted to get in&amp;quot;&lt;br /&gt;
&lt;br /&gt;
4.&amp;quot;When saw Xifeng&amp;quot;- grammar mistake, &amp;quot;when seeing Lady Phoenix&amp;quot;, or &amp;quot;when he saw Lady Phoenix&amp;quot;&lt;br /&gt;
&lt;br /&gt;
5.&amp;quot;Jia Rui saw Xifeng dressed like this, he was even more charmed by her.&amp;quot;- lack a conjunction here between the two sentences&lt;br /&gt;
--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 14:31, 22 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
贾瑞笑道：“我倒天天闲着，若天天过来替嫂子解解闷儿，可好么？”凤姐笑道：“你哄我呢，你那里肯往我这里来？”贾瑞道：“我在嫂子面前，若有一句谎话，天打雷劈！只因素日闻得人说，嫂子是个利害人，在你跟前一点也错不得，所以唬住了我。如今见嫂子是个有说有笑极疼人的，我怎么不来？死了也情愿。”凤姐笑道：“果然你是个明白人，比贾蓉兄弟两个强远了。我看他那样清秀，只当他们心里明白，谁知竟是两个糊涂虫，一点不知人心。”&lt;br /&gt;
&lt;br /&gt;
贾瑞听了这话，越发撞在心坎儿上，由不得又往前凑一凑，觑着眼看凤姐的荷包，又问：“戴着什么戒指？”凤姐悄悄的道：“放尊重些，别叫丫头们看见了。”贾瑞如听纶音佛语一般，忙往后退，凤姐笑道：“你该去了。”贾瑞道：“我再坐一坐儿，好狠心的嫂子！”&lt;br /&gt;
&lt;br /&gt;
Omen Merchant laughed,&amp;quot; I have nothing to do these days. What if I come here everyday and sweep out your loneliness?&amp;quot; &amp;quot;&amp;quot; You are kidding. You won't be willing to come here.&amp;quot;&amp;quot; If I ever told a lie in front of you, I would be stricken by the lightening and split into two halves! I heard the rumor before that you are a tough woman who tolerates no mistake. I was so frightened by that description of you that dared not to come. But now, finding you laughing and talking and caring about others, how can I be so indifferent to refuse to come here? Even if it is at the price of my death!&amp;quot; &amp;quot;You are a smart guy, much better than the two brothers of Prosperity Merchant. So handsome they are, I thought in their hearts they understand it, only to find them stupid and unable to understand other people,&amp;quot; laughed Sister Phoenix.&lt;br /&gt;
&lt;br /&gt;
The words struck the heart of Omen Merchant. He leaned forward and looked into Sister Phoenix's pocket. &amp;quot;What ring are you wearing?&amp;quot; he asked. Sister Phoenix said to him in a low voice,&amp;quot; Pay attention to the courtesy. It is inappropriate to behave this way when the maids are around.&amp;quot; Just like hearing the order form the emperor or the Buddha, Omen Merchant hurried to move backwards. &amp;quot;Time for you to go,&amp;quot; Sister Phoenix smirked. &amp;quot;I'll only stay for another few minutes. What a tough woman you are!&amp;quot; Omen Merchant complained.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 08:51, 20 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
1“ finding you laughing and talking and caring about others, how can I be so indifferent to refuse to come here?”- finding you such a woman who also likes talking and laughing, so how can I refuse to come?&lt;br /&gt;
&lt;br /&gt;
2. &amp;quot;I thought in their hearts they understand it, only to find them stupid and unable to understand other people,&amp;quot; -&amp;quot;I thought they should have understand it, but only to find them too dumb to understand other people,&amp;quot;&lt;br /&gt;
&lt;br /&gt;
3.ring-rings --[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 16:23, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
凤姐儿又悄悄的道：“大天白日人来人往，你就在这里也不方便。你且去，等到晚上起了更你来，悄悄的在西边穿堂儿等我。”贾瑞听了，如得珍宝，忙问道：“你别哄我。但是那里人过的多，怎么好躲呢？”凤姐道：“你只放心，我把上夜的小厮们都放了假，两边门一关了，再没别人了。”&lt;br /&gt;
&lt;br /&gt;
贾瑞听了，喜之不尽，忙忙的告辞而去，心内以为得手。盼到晚上，果然黑&lt;br /&gt;
地里摸入荣府，趁掩门时，钻入穿堂。果见漆黑无一人来往，往贾母那边去的门&lt;br /&gt;
已倒锁，只有向东的门未关。贾瑞侧耳听着，半日不见人来。忽听“咯噔”一&lt;br /&gt;
声，东边的门也关上了。贾瑞急的也不敢则声，只得悄悄出来，将门撼了撼，关&lt;br /&gt;
得铁桶一般。此时要出击，亦不能了，南北俱是大墙，要跳也无攀援。这屋内又&lt;br /&gt;
是过门风，空落落的；现是腊月天气，夜又长，朔风凛凛，侵肌裂骨，一夜几乎不曾冻死。&lt;br /&gt;
 &lt;br /&gt;
Sister Phoenix whispered:&amp;quot; it is inconvenient for you to stay here for there are lots of people in daylight, coming and going.You just went back first and came here until night, waiting for me at west hallway.&amp;quot; Hearing that, Omen Merchant asked quickly:&amp;quot; Do not trick me. But there ofen pass many people,and how to hide?&amp;quot; , as happy as getting rare treasure.&amp;quot; Just take it easy. I have get servants off duty before midnight and there comes no man when doors are closed.&amp;quot; Sister Phoenix said.&lt;br /&gt;
&lt;br /&gt;
Hearing it, Omen Merchant could not stopped smirking. He said goodbaye and leaved hurrily, thingking there must be a chance. When evening came, he found his way into the Rong House in the dark and entered the hall while the door was closed. He noticed no one coming or going in the dark, the door  to the way of  Grandma Merchant`s house was locked and only the door to the east was open. Omen Merchant listened sideways, just to find nobody.Suddenly there came a knock, which indicated the door to the east was closed. He was too anxious to dare not to make any noise.Only to quietly come out,  he shut the door as  firmly as covering an iron bucket. At this point, it was impossible to leave because of high walls in both south and north  and no climbing if you want to jump. The house was too ventilated and empty; It was the twelfth lunar month when the night was long and the wind was strong, which invaded muscles and cracked bones. One would freeze to death if staying here for one night.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 11:15, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Lady Phoenix whispered:&amp;quot; It is inconvenient for you to stay here for there are lots of people in daylight, coming and going. You just went back first and came here until night, waiting for me at the west hall.&amp;quot; Hearing that, Omen Jia felt happy as if he had got the rare treasure. He asked her hurriedly:&amp;quot; Do not trick me. There are many people passing there often, so how can I hide?&amp;quot; Lady Phoenix answered,&amp;quot; Just take it easy. I have set servants off duty before midnight and there will be no man when doors are closed.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
On hearing it, Omen Jia could not stop smirking. He said goodbye and left hurriedly, thinking there must be a chance to get close to Lady Phoenix. When the evening came, he found his way into the Rong House in the dark and entered the hall while the door was closed. He noticed no one coming or going in the dark, the door to the way of  Lady Jia`s house was locked and only the door to the east was open. Omen Jia listened sideways and found nobody coming. Suddenly there came a knock, which indicated the door to the east was closed just now. He was too anxious to make any noise. He had only to come out quietly and shut the door firmly like covering an iron bucket. At this point, it was impossible to leave because of high walls in both south and north nor to jump because of no places for climbing. The house was too ventilated and empty; It was the twelfth lunar month when the night was long and the wind was strong, which invaded muscles and cracked bones. One would freeze to death if staying here for one night.--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 17:29, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
好容易盼到早晨，只见一个老婆子先将东门开了进来，去叫西门，贾瑞瞅他背着脸，一溜烟抱了肩跑出来，幸而天气尚早，人都未起，从后门一径跑回家去。&lt;br /&gt;
&lt;br /&gt;
原来贾瑞父母早亡，只有他祖父代儒教养。那代儒素日教训最严，不许贾&lt;br /&gt;
瑞多走一步，生怕他在外吃酒赌钱，有误学业。今忽见他一夜不归，只料定他在&lt;br /&gt;
外非饮即赌，嫖娼宿妓，那里想到这段公案？因此也气了一夜。贾瑞也捻着一&lt;br /&gt;
把汗，少不得回来撒谎，只说：“往舅舅家去的，天黑了，留我住了一夜。”代儒道：“自来出门，非禀我不敢擅出，如何昨日私自去了？据此也该打，何况是撒谎！”因此发狠按倒打了三四十板，还不许吃饭，令他跪在院内读文章，定要补出十天工课来方罢。贾瑞先冻了一夜，又遭了打，且饿着肚子，跪在风地里读文章，其苦万状。&lt;br /&gt;
&lt;br /&gt;
Finally, when the morning came, an old lady opened the east gate first and then went to open the west gate. Omen Jia saw that she had turned around so he ran out with his shoulders in his arms. Fortunately, it was still early and no one had got up, Omen Jia ran all the way home from the back door.&lt;br /&gt;
Actually, Omen Jia's parents died early so that he was educated and nurtured by his grandparent—Jia Dairu. Jia Dairu strictly educated him on weekdays and did not allow Omen Jia to go out without permission, for fear that he would be admitted to drinking and gambling outside, which had a bad influence on his study. Now he suddenly found out that Jiarui hadn’t returned all night, so he concluded that he had been drinking, gambling outside, or staying in a brothel to play with the prostitutes. How can he imagine this will happen? He was angry all night. &lt;br /&gt;
Inevitably Omen Jia had to lie to his grandfather. He said: &amp;quot;I went to my uncle's house. It was dark. He kept me for the night.&amp;quot; Dai Confucian said: &amp;quot;In the past, you wouldn't go out without telling me. Why did you go out alone yesterday? Only for this, you should be punished, let alone telling a lie!&amp;quot; So Jia Dairu severely hit Omen Jia for thirty or forty plates, did not allow him to eat, and made him kneel in the courtyard to study until he caught up on ten days of homework. Omen Jia had been frozen all night before, and now he was punished and starved, kneeling to read articles in the wind, very painful.&lt;br /&gt;
&lt;br /&gt;
Finally, when the morning came, an old lady opened the east gate first and then went to open the west gate. Omen Jia saw that she had turned around so he ran out holding his shoulders. Fortunately, it was still early and no one had got up, so Omen Jia ran all the way home from the back door. Actually, Omen Jia's parents died early so that he was educated and nurtured by his grandparent—Jia Confucian. Jia Confucian usually strictly educated him and did not allow Omen Jia to go out without permission for fear that he would be admitted to drinking and gambling outside, which had a bad influence on his study. At this time he suddenly found that Omen Jia hadn’t returned all night, so he concluded that he had been drinking, gambling outside, or staying in a brothel to play with the prostitutes. How can he dare to expect that all of these would happen? Therefore,  he was angry about his grandson’s mistakes all night. Omen Jia was nervous definitely and inevitably had to lie to his grandfather. He said: &amp;quot;I went to my uncle's house. He kept me for the night because of darkness.&amp;quot; Dai Confucian said: &amp;quot;In the past, you wouldn't go out without informing me. Why did you go out alone yesterday? Only for this, you should be punished, let alone telling a lie!&amp;quot; So Jia Confucian severely hit Omen Jia with ferula for thirty or forty plates and did not allow him to eat, making him kneel in the courtyard to read articles until he caught up on ten days of homework. Omen Jia had been frozen all night before, and now he was punished physically and starved, kneeling to read articles in the wind. He was extremely painful. —[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 05:36, 24 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Finally, when the morning came, an old lady opened the east gate first and then went to open the west gate. Omen Merchant saw that she had turned around so he ran out with his shoulders in his arms. Fortunately, it was still early and no one had got up, Omen Merchant ran all the way home from the back door.&lt;br /&gt;
Actually, Omen Merchant's parents died early so that he was educated and nurtured by his grandparent—Merchant Confucianism. Merchant Confucianism strictly educated him on weekdays and did not allow Omen Merchant to go out without permission, for fear that he would be admitted to drinking and gambling outside, which had a bad influence on his study. Now he suddenly found out that Merchantrui hadn’t returned all night, so he concluded that he had been drinking, gambling outside, or staying in a brothel to play with the prostitutes. How can he imagine this will happen? He was angry all night. &lt;br /&gt;
Inevitably Omen Merchant had to lie to his grandfather. He said: &amp;quot;I went to my uncle's house. It was dark. He kept me for the night.&amp;quot; Dai Confucianism said: &amp;quot;In the past, you wouldn't go out without telling me. Why did you go out alone yesterday? Only for this, you should be punished, let alone telling a lie!&amp;quot; So Merchant Confucianism severely hit Omen Merchant for thirty or forty plates, did not allow him to eat, and made him kneel in the courtyard to study until he caught up on ten days of homework. Omen Merchant had been frozen all night before, and now he was punished and starved, kneeling to read articles in the wind, very painful.&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:50, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
此时贾瑞邪心未改，再不想到凤姐捉弄他。过了两日，得了空，仍来找寻&lt;br /&gt;
凤姐。凤姐故意抱怨他失信，贾瑞急的赌咒发誓。凤姐因他自投罗网，少不得&lt;br /&gt;
再寻别计令他知改，故又约他道：“今日晚上，你别在那里了。你在我这房后小&lt;br /&gt;
过道儿里那间空屋里等我，可别冒撞了。”贾瑞道：“果真？”凤姐道：“谁来哄你，你不信就别来。”贾瑞道：“来，来，来！死也要来！”凤姐道：“这会子你先去罢。”贾瑞料定晚间必妥，此时先去了。凤姐在这里便点兵派将，设下圈套。&lt;br /&gt;
&lt;br /&gt;
那贾瑞只盼不到晚上，偏生家里亲戚又来了，吃了晚饭才去，那天已有掌&lt;br /&gt;
灯时分；又等他祖父安歇，方溜进荣府，直往那夹道中屋子里来等着，热锅上蚂&lt;br /&gt;
蚁一般。只是左等不见人影，右闻也没声响，心中害怕，不住猜疑道：“别是又不来了，又冻一夜不成？”&lt;br /&gt;
&lt;br /&gt;
At this time, Omen Jia still hadn’t corrected his evil intention, thus he little thought the trick of Lady Phoenix. After two days, Omen Jia was available to find Lady Phoenix again. Lady Phoenix complained his broken promises on purpose so that Omen Jia swore and vowed hurriedly. Lady Phoenix found that he had hurled himself willingly into the net. Therefore, she had to come up with another method to let him know his wrongness and made appointment with him again:” Don’t stay there tonight. Wait for me in the empty room on the passage behind my house. Remember, you should do nothing rashly. Omen Jia said:” Really?” Lady Phoenix said:” I am lazy to cheat you. If you don’t believe me, then do not come.” Omen Jia said:” I must come there! Come! Come! I am determined to come there even though I will die.” Lady Phoenix said:” You can leave now.” Omen Jia believed that everything would be OK tonight so he left soon. Lady Phoenix then arranged some people to set a trap for Omen Jia.&lt;br /&gt;
&lt;br /&gt;
Omen Jia were always looking forward the coming of tonight. But by coincidence, the relatives came tonight and Omen Jia didn’t leave until he finished dinner. It was 5 p.m. that time. However, only after his grandfather had rested could he crept into Rong Mansion and hurried to the room on the passage to wait for Lady Phoenix. He waited anxiously like ants on a hot pan. But neither did he see a figure nor listen any sound. Then he scared and suspected constantly: Lady Phoenix would not come here and I would be frozen all night?--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 05:00, 21 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
At this time, Omen Jia still hadn’t corrected his evil intention, thus he little thought the trick of Lady Phoenix. After two days, Omen Jia was available to find Lady Phoenix again. Lady Phoenix complained his broken promises on purpose so that Omen Jia swore and vowed hurriedly. Lady Phoenix found that he had hurled himself willingly into the net. Therefore, she had to come up with another method to let him know his wrongness and made appointment with him again:” Don’t stay there tonight. Wait for me in the empty room on the passage behind my house. Remember, you should do nothing rashly. Omen Jia said:” Really?” Lady Phoenix said:” I am lazy to cheat you. If you don’t believe me, then do not come.” Omen Jia said:” I will come there, and come, and come, even if I should die for it!” Lady Phoenix said:” Now, you’d better go.” Omen Jia believed that everything would be OK tonight so he left soon. Lady Phoenix then arranged some people to set a trap for Omen Jia.&lt;br /&gt;
Omen Jia waited impatiently at home tonight. And by coincidence, the relatives came tonight and Omen Jia didn’t leave until he finished dinner. It was 5 p.m. that time. However, only after his grandfather had rested could he crept into Rong Mansion and hurried to the room on the passage to wait for Lady Phoenix. He waited anxiously like ants on a hot pan. But neither did he see a figure nor listen any sound. Then he scared and suspected constantly: Would Lady Phoenix come here tonight? Or shall I be frozen for another night?--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 11:19, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
正自胡猜，只见黑魆魆的了一个人，贾瑞便意定是凤姐，不管皂白，等那人刚至面前，便如饿虎扑食、猫儿捕鼠的一般，抱住叫道：“亲嫂子，等死我了！”说着，抱到屋里炕上就亲嘴扯裤子，满口里“亲爹”“亲娘”的乱叫起来。那人只不做声，贾瑞扯了自己的裤子，硬帮帮就想顶入。忽见灯光一闪，只见贾蔷举着个蜡台，照道：“谁在屋里？”只见炕上那人笑道：“瑞大叔要肏我呢。”&lt;br /&gt;
&lt;br /&gt;
贾瑞一见，却是贾蓉，直臊得无地可入，不知怎样才好，回身就要跑脱，被贾&lt;br /&gt;
蔷一把揪住，道：“别走！如今琏二婶已经告到太太跟前，说你调戏他，他暂用了脱身计哄你在那边等着。太太气死过去，因叫我来拿你。快跟我去见太太&lt;br /&gt;
去！”贾瑞听了，魂不附体，只说：“好侄儿！你只说没有我，我明日重重的谢&lt;br /&gt;
你。”&lt;br /&gt;
&lt;br /&gt;
Omen Jia just made a blind guess, only seeing a person in the black shadow. He then thought that was Lady Phoenix without asking. When the person had just arrived in front Omen Jia, he held her like a hungry tiger pouncing on its prey or a cat catching the mice, and yelled:” My dear sister, I’ve been waiting you for a long time!” With this he carried the person to the bed in the house, then kissed, took off his pants and shouted,” Daddy”, “Mommy”. The person was just silent. Omen Jia took off his pants. His penis became hard and he wanted to push in. Suddenly, the lights flashing, he saw only Rose Jia holding a candlestick. Rose Jia asked:” Who was in the house?”, only hearing the person on the bed laughed, “Uncle Omen wanted to bed me!” &lt;br /&gt;
&lt;br /&gt;
Omen Jia had a look and discovered the person was Lotus Jia. He was so shamed that he found nowhere to hide himself. And he didn’t know how to deal with this situation, so his turned around and ran. Rose Jia seized him and said:” Halt! Lady Phoenix had told to Madame that you took liberties with her and she used a plan of slowing down to let you wait there. Madame almost died of angry, so she commanded me to catch you. Come and see Madame with me!” After hearing this, Omen Jia was scared out of his wits, and said:” Dear nephew! Just say that you didn’t see me. I will thank you with heavily reward tomorrow.”&lt;br /&gt;
&lt;br /&gt;
Just then a dark figure appeared. Sure that it was Lady Phoenix, he threw caution to the winds and barely had the figure stepped through the door than he flung himself on it like a ravenous tiger, or a cat pouncing on a mouse. “Dearest!” he cried. “I nearly died of longing.”  With this he carried the person to the bed in the house, then kissed, took off his pants and shouted,” Daddy”, “Mommy”. The person was just silent. Omen Jia took off his pants. His penis became hard and he wanted to push in. Suddenly, the lights flashing, he saw only Rose Jia holding a candlestick. Rose Jia asked:” Who was in the house?”, only hearing the person on the bed laughed, “Uncle Omen wanted to bed me!” &lt;br /&gt;
&lt;br /&gt;
Omen Jia had a look and discovered the person was Lotus Jia. He was so shamed that he found nowhere to hide himself. And he didn’t know how to deal with this situation, so his turned around and ran. Rose Jia seized him and said:” Halt! Lady Phoenix had told to Madame that you took liberties with her and she used a plan of slowing down to let you wait there. Madame almost died of angry, so she commanded me to catch you. Come and see Madame with me!” After hearing this, Omen Jia was scared out of his wits, and said:” Dear nephew! Just say that you didn’t see me. I will thank you with heavily reward tomorrow.”--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 07:54, 31 March 2021 (UTC)Wang Zihan&lt;br /&gt;
&lt;br /&gt;
Just then a dark figure appeared. Sure that it was Sister Phoenix, he threw caution to the winds and barely had the figure stepped through the door than he flung himself on it like a ravenous tiger, or a cat pouncing on a mouse. “Dearest!” he cried. “I nearly died of longing.”  With this he carried the person to the bed in the house, then kissed, took off his pants and shouted,” Daddy”, “Mommy”. The person was just silent. Omen Merchant took off his pants. His penis became hard and he wanted to push in. Suddenly, the lights flashing, he saw only Rose Merchant holding a candlestick. Rose Merchant asked:” Who was in the house?”, only hearing the person on the bed laughed, “Uncle Omen wanted to bed me!” &lt;br /&gt;
&lt;br /&gt;
Omen Merchant had a look and discovered the person was Prosperity Merchant. He was so shamed that he found nowhere to hide himself. And he didn’t know how to deal with this situation, so his turned around and ran. Rose Merchant seized him and said:” Halt! Lady Phoenix had told to Madame that you took liberties with her and she used a plan of slowing down to let you wait there. Madame almost died of angry, so she commanded me to catch you. Come and see Madame with me!” After hearing this, Omen Merchant was scared out of his wits, and said:” Dear nephew! Just say that you didn’t see me. I will thank you with heavily reward tomorrow.”--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 05:15, 28 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
贾蔷道：“放你不值什么，只不知你谢我多少？况且口说无凭，写一文契&lt;br /&gt;
来。”贾瑞道：“这如何落纸呢？”贾蔷道：“这也不妨，写一个赌钱输了外人账目，借头家银若干两便罢。”贾瑞道：“这也容易。”贾蔷翻身出来，纸笔现成，拿来命贾瑞写。他两个做好做歹，只写了五十两银子，画了押，贾蔷收起来。然后撕罗贾蓉，贾蓉先咬定牙不依，只说：“明日告诉族中的人评评理。”贾瑞急的至于叩头。贾蔷做好做歹的，也写了一张五十两欠契才罢。&lt;br /&gt;
&lt;br /&gt;
贾蔷又道：“如今要放你，我就担着不是。老太太那边的门早已关了，老爷&lt;br /&gt;
正在厅上看南京来的东西，那一条路定难过去，如今只好走后门。若这一走，倘&lt;br /&gt;
或遇见了人，连我也不好。等我先去探探，再来领你。这屋里你还藏不住，少时&lt;br /&gt;
就来堆东西，等我寻个地方。”&lt;br /&gt;
Jia Qiang said, &amp;quot;It worth nothing of letting you go. I only wonder how much you give to thank me. Besides, the spoken word flies, so you have to write a receipt for the loan.&amp;quot; &amp;quot;How can I write it down?&amp;quot; asked Ja Rui. Jia Qiang said, &amp;quot;It's all right to write that you borrowed so much silver from the bank to pay a gambling debt.&amp;quot; &amp;quot;That's easy, too,&amp;quot; said Ja Rui. Jia Qiang disappeared for a moment and promptly returned with writing materials and ordered Jia Rui to write and sign an I. O. U. for 50 taels which Jia Qiang pocketed. When he urged Jia Rong to leave, however, the latter at first absolutely refused and threatened to lay the matter before the whole clan the next morning, Jia Rui kowtowed to him in desperation. However, with Jia Qiang mediating between them, he was forced to write another I. O. U. for fifty taels of silver.&lt;br /&gt;
“I'll get the blame if you're seen leaving,&amp;quot; said Jia Qiang. “The Lady Dowager's gate is closed, and the Second Master is in the hall looking over the things which have arrived from Jinling, so you can't get out that way. You'll have to go through the back gate. But if anyone meets you I'll be finished too. Let me sce if the coast is clear. You can't hide here, they'll be bringing stuff in presently. I'll find you somewhere to wait.--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 08:48, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Jia Qiang said, &amp;quot;It worth nothing of letting you go. I only wonder how much you are willing to pay. Besides, the spoken word flies, I must have it down in writing.&amp;quot; &amp;quot;How can I write it down?&amp;quot; asked Ja Rui. Jia Qiang said, &amp;quot;Just write that you borrowed so much silver from the bank to pay a gambling debt.&amp;quot; &amp;quot;All right,&amp;quot; said Ja Rui. Jia Qiang disappeared for a moment and promptly returned with writing materials and ordered Jia Rui to write and sign an I. O. U. for 50 taels which Jia Qiang pocketed. When he urged Jia Rong to leave, however, the latter at first absolutely refused and threatened to lay the matter before the whole clan the next morning, Jia Rui kowtowed to him in desperation. However, with Jia Qiang mediating between them, he was forced to write another I. O. U. for fifty taels of silver.&lt;br /&gt;
“I'll get the blame if you're seen leaving,&amp;quot; said Jia Qiang. “The Lady Dowager's gate is closed, and the Second Master is in the hall looking over the things which have arrived from Jinling, so you can't get out that way. You'll have to go through the back gate. But if anyone meets you I'll be finished too. Let me see if the coast is clear. You can't hide here, they'll be bringing stuff in presently. I'll find you somewhere to wait.”—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 11:57, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
说毕，拉着贾瑞，仍息了灯，出至院外，摸着大台阶底下，说道：“这窝儿里好，只蹲着，别哼一声，等我来再走。”说毕，二人去了。&lt;br /&gt;
&lt;br /&gt;
贾瑞此时身不由已，只得蹲在那台阶下。正要盘算，只听头顶上一声响，&lt;br /&gt;
哗喇喇一净桶尿粪从上面直泼下来，可巧浇了他一身一头。贾瑞掌不住“嗳&lt;br /&gt;
哟”一声，忙又掩住口，不敢声张，满头满脸皆是尿屎，浑身冰冷打战。只见贾蔷跑来叫：“快走，快走！”贾瑞方得了命，三步两步从后门跑到家中，天已三更，只得叫开了门。家人见他这般光景，问：“是怎么了？”少不得撒谎说：“天黑了，失脚掉在茅厕里了。”一面即到自己房中更衣洗濯，心下方想到凤姐玩他，因此发一回狠；再想想凤姐的模样儿标致，又恨不得一时搂在怀里，胡思乱想，一夜也不曾合眼。自此虽想凤姐，只不敢往荣府去了。&lt;br /&gt;
&lt;br /&gt;
After saying so, he blew up the light and dragged Jia Rui out to the foot of some steps in the yard. “Here’s a good place,” he whispered. “Squat down there until we come back and don’t make a sound.” As the two people left.&lt;br /&gt;
Jia Rui squatted obediently at the foot of the steps. He was thinking over his predicament when he heard a splash above him and a bucket of fecal matter was emptied over his head. He couldn’t stand it and cried, but he clapped one hand over his mouth and made not other sound, though covered with filth from head to foot and shivering with cold. Then Jia Qiang hurried over calling: “Quick! Run!” At this reprieve, Jia Rui bolted through the back door to his home. By now the trid watch had sounded, and he had to knock at the gate. The servant who opened it wanted to know how he came to be in such a state. “I fell into a cesspool in the dark,” lied Jia Rui. Back in his own room he stripped off his clothes and washed. Only then did he realized with rage the trick Xifeng had played on him, yet the recollection of her charms still made him long to embrace her. There was no sleep for him that night. Afterwards,although he still longed for Xifeng, he steered clear of the Rong Mansion.&lt;br /&gt;
&lt;br /&gt;
After saying so, he blew up the light and dragged Omen Jia out to the foot of some steps in the yard. “Here’s a good place,” he whispered. “Squat down there until we come back and don’t make a sound.” As the two people left. Omen Jia squatted obediently at the foot of the steps. He was thinking over his predicament when he heard a splash above him and a bucket of fecal matter was emptied over his head. He could not stand it and cried, but he clapped one hand over his mouth and made not other sound, though covered with filth from head to foot and shivering with cold. Then Fake Tough hurried over calling: “Quick! Run!” At this reprieve, Omen Jia bolted through the back door to his home. By now the trid watch had sounded, and he had to knock at the gate. The servant who opened it wanted to know how he came to be in such a state. “I fell into a cesspool in the dark,” lied Propitious Zhou. Back in his own room he stripped off his clothes and washed. Only then did he realized with rage the trick Sister Phoenix had played on him, yet the recollection of her charms still made him long to embrace her. There was no sleep for him that night. Afterwards,although he still longed for Sister Phoenix, he steered clear of the Rong Mansion.—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 08:02, 25 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
1.Only then did he realized with rage the trick Sister Phoenix had played on him, yet the recollection of her charms still made him long to embrace her. →Only then did he realize with rage the trick Sister Phoenix had played on him, yet the recollection of her charms still made him long to embrace her. &lt;br /&gt;
&lt;br /&gt;
2.There was no sleep for him that night.→That was a sleepless night.--[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:21, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
贾蓉等两个常常来索银子，他又怕祖父知道。正是相思尚且难禁，况又添&lt;br /&gt;
了债务，日间工课又紧；他二十来岁人，尚未娶亲，还来想着凤姐不得到手，未免有些“指头儿告了消乏”；更兼两回冻恼奔波，因此三五下里夹攻，不觉就得了一病：心内发膨胀，口内无滋味，脚下如绵，眼中似醋，黑夜作烧，白日常倦，下溺遗精，嗽痰带血。诸如此症，不上一年，都添全了。于是不能支持，一头躺倒，合上眼还只梦魂颠倒，满口说胡话，惊怖异常。百般请医疗治，诸如肉桂、附子、鳖甲、麦冬、玉竹等药，吃了有几十斤下去，也不见个动静。&lt;br /&gt;
&lt;br /&gt;
倏又腊尽春回，这病更又沉重。代儒也着了忙，各处请医疗治，皆不见效。&lt;br /&gt;
因后来吃“独参汤”，代儒如何有这力量，只得往荣府里来寻。王夫人命凤姐秤&lt;br /&gt;
二两给他。&lt;br /&gt;
&lt;br /&gt;
Prosperity Merchant and her sister often came to ask for money. He was full of fears lest his grandfather should come to know everything. His passion for Splendid Phoenix King was, in fact, already a burden hard to bear, and when, moreover, the troubles of debts were superadded to his tasks, which were also during the whole day arduous, he, a young man of about twenty, as yet unmarried, and a prey to constant cravings for Splendid Phoenix King, which were difficult to gratify, could not avoid giving way, to a great extent, to such evil habits as exhausted his energies.&lt;br /&gt;
He had been frozen twice in a row, so that with the attacks received time and again from all sides，he unconsciously soon contracted an organic disease.&lt;br /&gt;
In his heart inflammation set in; his mouth lost the sense of taste; his feet got as soft as cotton from weakness; his eyes stung, as if there were vinegar in them. At night, he burnt with fever. During the day, he was repeatedly under the effects of lassitude. Perspiration was profuse, while with his expectorations of phlegm, he brought up blood. The whole number of these several ailments came upon him, before the expiry of a year, in course of time, he had not the strength to bear himself up.&lt;br /&gt;
All of a sudden, he became ill, and with his eyes, albeit closed, his spirit would be still plunged in confused dreams, while his mouth would be full of nonsense and he would be subject to strange starts.&lt;br /&gt;
Every kind of doctor was asked to have a try, and every treatment had recourse to; and，though of such medicines as cinnamon, aconitum seeds， turtle shell, Ophiopogon, Yue-chue herb, and the like, he took several tens of catties, he nevertheless experienced no change for the better; so that by the time the twelfth moon drew once again to an end, and spring returned， this illness had become still more serious.&lt;br /&gt;
Dairu was very much concerned, and invited doctors from different places to attend to him, but none of them could do him any good. And as later on, he had to take nothing else but decoctions of pure ginseng， Dairu could not of course afford it. Having no other help but to come over to the Jung mansion, and make requisition for some,  Lady King asked Splendid Phoenix King to weigh two taels of it and give it to him.&lt;br /&gt;
1.&amp;quot;Prosperity Merchant and her sister&amp;quot;→“his sister”2.--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 14:42, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
凤姐回说：“前儿新近替老太太配了药，那整的太太又说留着送杨提督的太太配药，偏偏昨儿我已着人送了去了。”王夫人道：“就是咱们这边没了，你打发个人往那边你婆婆处问问，或是你珍大哥哥那里有，寻些来，凑着给人家，吃好了，救人一命，也是你们的好处。”凤姐应了，也不遣人去寻，只将些渣末凑了几钱，命人进去。只说：“太太送来的，再也没了。”然后向王夫人只说：“都寻了来，共凑了有二两送去。”&lt;br /&gt;
&lt;br /&gt;
那贾瑞此时要命心急，无药不吃，只是白花钱，不见效。忽然这日有个跛&lt;br /&gt;
足道人来化斋，只称专治冤业之症。贾瑞偏生在内听了，直着声叫喊，说：“快去请进那位菩萨来救命！”一面在枕头上叩首。众人只得带了那道士进来。贾瑞&lt;br /&gt;
一把拉住，连叫“菩萨救我！”&lt;br /&gt;
XiFeng replys:&amp;quot; The medicine for the Lady Dowager has been made recently, the entire one should leave for the Chief Commander Yang's wife as a gift. Unfortunately, I have sent it yesterday.&amp;quot; Lady Wang says:&amp;quot; There is no more ginsengs in ours.You can dispatch someone to ask your mother-in-law ,or Brother Zhen, for them. Only needed a few, if he recovers, that will be your credit.&amp;quot; Xifeng agree to her face, but not follow it later. She just finds some bits of ginsengs to him and says:&amp;quot;That's what Lady Wang sent, nothing else.&amp;quot; Then she replies to Lady Wang, only saying:&amp;quot; All ginsengs have been collected, which weight two monmes.&amp;quot; Jia Rui is crazily anxious now, almost having any medicine he could find, which only wastes his money but not useful at all. One day, a lame Taoist begs his food here and professes that he is very professional in difficult diseases. Jia Rui happens to hear his words in the house, immidiately crying out:&amp;quot; Hurry up! The bodhisattva comes to my rescue.&amp;quot;.Meantime, he is kotowing on the pillow. So people around have to bring the Taoist in. Jia Rui takes by him, clamoring:&amp;quot; Save me, please, bodhisattva!&amp;quot;&lt;br /&gt;
Sister Feng replied, “The medicine for the Lady was prepared recently, so the entire one should be left for the Chief Commander Yag’s wife as a gift. Unfortunately, I already delivered it yesterday.” Lady Queen said, “There is no more ginsengs in ours. You can dispatch someone to ask your mother in law, or your brother, Mr. Zhen. If he recovered with just a few, that would be your credit.” Sister Feng agreed with her when she was there, but did not actually do it, just giving a few ginsengs to him, saying, “That’s what Lady Queen sent to you, nothing more.” But what she said to Lady Queen was, “All ginsengs have been collected, totally weighting two monies.” Having found no medicine but only wasting his money, Jia Rui became extremely anxious. &lt;br /&gt;
One day, a lame Taoist professed that Jia Rui was in ill disease, when the Taoist was begging on the street and passing the house. Jia Rui happened to hear his words and shouted, “Hurry up! The bodhisattva is coming to rescue me.” Meanwhile, he kotowed on the hassock. So the servants around brought the Taosit in. Jia Rui took his hands and clamored, “Oh, god, please save me!”——[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
Splendid Phoenix replied, “The medicine for the Lady was prepared recently, so the entire one should be left for the Chief Commander Yag’s wife as a gift. Unfortunately, I already delivered it yesterday.” Lady King said, “There is no more ginsengs in ours. You can dispatch someone to ask your mother in law, or your brother, Mr. Zhen. If he recovered with just a few, that would be your credit.” Sister Phoenix agreed with her when she was there, but did not actually do it, just giving a few ginsengs to him, saying, “That’s what Lady King sent to you, nothing more.” But what she said to Lady King was, “All ginsengs have been collected, totally weighting two monies.” Having found no medicine but only wasting his money, Omen Merchant became extremely anxious. &lt;br /&gt;
One day, a lame Taoist professed that Omen Merchant was in ill disease, when the Taoist was begging on the street and passing the house. Omen Merchant happened to hear his words and shouted, “Hurry up! The bodhisattva is coming to rescue me.” Meanwhile, he kotowed on the hassock. So the servants around brought the Taosit in. Omen Merchant took his hands and clamored, “Oh, god, please save me!&lt;br /&gt;
--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 06:45, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
那道上叹道：“你这病非药可医。我有个宝贝与你，你天天看此时，命可保矣。”说毕，从搭裢中取正反面皆可照人的镜子来，背上面錾着“风月宝鉴”四字。递与贾瑞道：“这物出白太虚幻境空灵殿上，警幻仙子所制，专治邪思妄动之症，有济世保生之功。所以带他到世上来，单与那些聪明杰俊、风雅王孙等看照。千万不可照正面，只照他的背面，要紧，要紧！三日后吾来收取，管叫你好了。”说毕，徜徉而去，众人苦留不住。&lt;br /&gt;
&lt;br /&gt;
 贾瑞接了镜子，想道：“这道士倒有意思，我何不照一照试试？”想毕，拿起&lt;br /&gt;
“风月宝鉴”来，向反面一照，只见一个骷髅立在里面，唬得贾瑞连忙掩了，骂：&lt;br /&gt;
“道士混账！如何吓我！我倒再照照正面是什么？”想着，便将正面一照，只见&lt;br /&gt;
凤姐站在里面点手儿叫他。&lt;br /&gt;
The Taoist said with a sigh, “No medicine could cure your disease. But luckily, there is a treasure for you. You will be rescued by looking at it every day.” After that, he took out a mirror which mirrored people on both sides and was carved “Feng Yue Bao Jian”（Windy, Moony, Treasured Mirror）. Handing it to Jia Rui（Mr. Auspice）, he said, “This was made by a faery by the name of Alarming Illusion in Illusory Land of Great Void at Intangible Palace, extremely effective at curing diseases and saving lives, especially good at curing paranoia and monomania. Hence, it can only be looked into by those intelligent heroes and refined nobles when it is brought to the world. Bearing it in mind, only the back of the mirror is available to be looked into, and the front of the mirror must never be looked into. That matters! That does matter! After three days, I am going to take it and I promise you will be fine.” After talking, he strolled away, not staying for a minute though others tried hard to require him to stay there.&lt;br /&gt;
Jia Rui got the mirror, thinking that “The Taoist is interesting. Why not have a try?” Then, Omen Merchant picked the mirror up and looked into the back side of the mirror, only to see a human skeleton in it. Haunted greatly by it, Omen Merchant covered it up, cursing, “what a Bastard! How could it have frightened me? I will have a glance at the front of the mirror.” With this thought, he looked into the front of the mirror, seeing that Sister Feng, in the mirror, was calling him coquettishly.&lt;br /&gt;
&lt;br /&gt;
The Taoist rejoined gravely, “No medicine could cure your disease. But luckily, I can give you a precious object, which will save your life if you look at it every day.” After that, he took out a mirror which mirrored people on both sides and was carved “Feng Yue Bao Jian”（Windy, Moony, Treasured Mirror）. Handing it to Omen Merchant, he said, “This was made by a faery by the name of Alarming Illusion in Illusory Land of Great Void at Intangible Palace, extremely effective at curing diseases and saving lives, especially good at curing paranoia and monomania. Hence, it can only be looked into by those intelligent heroes and refined nobles when it is brought to the world. Bearing it in mind, only the back of the mirror is available to be looked into, and the front of the mirror must never be looked into. Remember that on no account look into the front! After three days, I shall come back for it, by when you should be fine.” Then he strode off before anyone could stop him.&lt;br /&gt;
Omen Merchant got the mirror, thinking that “The Taoist is interesting. Why not have a try?” Then, Omen Merchant picked the mirror up and looked into the back side of the mirror, only to see a human skeleton in it. Haunted greatly by it, Omen Merchant covered it up, cursing, “what a Bastard! How could it have frightened me? But let me see what’s on the front of the mirror.” With this thought, he looked into the front of the mirror and there inside stood Splendid Phoenix King, beckoning to him. --[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 10:42, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The Taoist said with a sigh, “No medicine could cure your disease. But luckily, there is a treasure for you. You will be rescued by looking at it every day.” After that, he took out a mirror which mirrored people on both sides and was carved “Feng Yue Bao Jian”（Windy, Moony, Treasured Mirror）. Handing it to Omen Merchant（Mr. Auspice）, he said, “This was made by a faery by the name of Alarming Illusion in Illusory Land of Great Void at Intangible Palace, extremely effective at curing diseases and saving lives, especially good at curing paranoia and monomania. Hence, it can only be looked into by those intelligent heroes and refined nobles when it is brought to the world. Bearing it in mind, only the back of the mirror is available to be looked into, and the front of the mirror must never be looked into. That matters! That does matter! After three days, I am going to take it and I promise you will be fine.” After talking, he strolled away, not staying for a minute though others tried hard to require him to stay there. Omen Merchant got the mirror, thinking that “The Taoist is interesting. Why not have a try?” Then, Omen Merchant picked the mirror up and looked into the back side of the mirror, only to see a human skeleton in it. Haunted greatly by it, Omen Merchant covered it up, cursing, “what a Bastard! How could it have frightened me? I will have a glance at the front of the mirror.” With this thought, he looked into the front of the mirror, seeing that Sister Feng, in the mirror, was calling him coquettishly.----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
贾瑞心中一喜，荡悠悠觉得进了镜子，与凤姐云雨一番，凤姐仍送他出来。到了床上，“嗳哟”了一声，一睁眼，镜子从新又掉过来，仍是反面立着一个骷髅。贾瑞自觉汗津津的，底下已遗了一滩精。心中到底不足，又翻过正面来，只见凤姐还招手叫他，他又进去，如此三四次。到了这次，刚要出镜子来，只见两个人走来，拿铁锁把他套住，拉了就走。贾瑞叫道：“让我拿了镜子再走……”只说这句，就再不能说话了。&lt;br /&gt;
&lt;br /&gt;
旁边伏侍的人，只见他先还拿着镜子照，落下来，仍睁开眼拾在手内，末后&lt;br /&gt;
镜子掉下来，便不动了。众人上来看看，已咽了气，身子底下冰凉精湿一大滩&lt;br /&gt;
精。这才忙着穿衣抬床，代儒夫妇哭的死去活来，大骂道士：“是何妖镜！若不&lt;br /&gt;
毁此镜，遗害人世不小。”&lt;br /&gt;
In delight, Omen Jia wandered as if by magic into the mirror, where he indulged with his beloved in the sport of cloud and rain, after which she saw him out. He found himself back in his bed and opened his eyes with a cry. The mirror had slipped from his hands and the side with the skeleton was exposed again. Although sweating profusely after his wet dream, the young man was not satisfied. He turned the mirror over again, Phoenix King beckoned to him as before, and he went in. But after this had happened four times and he was about to leave her for the fourth time, two men came up, fastened iron chains upon him and proceeded to drag him away. He cried out, “Let me taking the mirror with me!” These were the last words he uttered. The attendants had simply observed him look into the mirror, let it fall then open his eyes and pick it up again. This time, however, when the mirror fell, he did not stir. They pressed round and saw that he had breathed his last. The sheet under his thighs was cold and wet with seminal fluid. At once they laid him out and made ready the bier, while his grandparents gave way to uncontrollable grief and cursed the Taoist. “This devilish mirror!” Confucianism Jia swore, “It must be destroyed before it does any more harm.”--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 14:25, 19 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
In delight, he wandered as if going into the mirror magically, where he indulged with his beloved in the sport of cloud and rain. After that she sent him out. He found himself back in his bed and opened his eyes with a cry &amp;quot;Aiyo&amp;quot;. The mirror had slipped from his hand and the side with the skeleton exposed again. Although sweating profusely after his wet dream, the young man was not satisfied. He turned the mirror over again and Xifeng beckoned to him as before, so he went in. But after this had happened four times and he was about to leave her for the fourth time, two men came up, fastened iron chains upon him and proceeded to drag him away. He cried out, “Let me taking the mirror with me!” These were the last words he uttered. The attendants had simply observed him look into the mirror, let it fall then open his eyes and pick it up again. This time, however, when the mirror fell, he did not stir. They pressed round and saw that he had breathed his last. The sheet under his thighs was cold and wet with seminal fluid. At once they laid him out and made ready the bier, while his grandparents gave way to uncontrollable grief and cursed the Taoist. “This devilish mirror!” Jia Dairu swore, “It must be destroyed before it does any more harm.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 23:15, 23 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
遂命架火来烧。只听空中叫道：“谁教你们瞧正面了的！你们自己以假为真，为何烧我此镜？”忽见那镜从空中飞出。代儒出门看时，只见还是那个跛足道人，喊道：“谁毁‘风月宝鉴’？”说着，抢了镜子，眼看他飘然去了。&lt;br /&gt;
&lt;br /&gt;
当下代儒料理丧事，各处去报。三日起经，七日发引，寄灵铁槛寺，日后带&lt;br /&gt;
回原籍。一时贾家众人齐来吊问，荣府贾赦赠银二十两，贾政也是二十两，宁府&lt;br /&gt;
贾珍亦有二十两，其余族中人贫富不一，或一二两三四两，不等。外又有各同窗&lt;br /&gt;
家中分资，也凑了二三十两。代儒家道虽然淡薄，得此帮助，倒也丰丰富富完了&lt;br /&gt;
此事。&lt;br /&gt;
&lt;br /&gt;
谁知这年冬底，林如海因为身染重疾，写书来特接林黛玉回去。贾母听&lt;br /&gt;
了，未免又加忧闷，只得忙忙的打点黛玉起身。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He asked servants to set fire to it. Then they heard a voice from the sky, &amp;quot;Who asks you to see the front? You believe the false as the truth by yourselves, why do you burn me?&amp;quot; Suddenly they saw the mirror flew through the sky. When Jia Dairu ran out the door, the only person he could see is the lame holy man, saying, &amp;quot;Who ruined ''FengYueBaJjian''?&amp;quot;. Then he snatched the mirror and went away on winds.&lt;br /&gt;
&lt;br /&gt;
Now Jia Dairu dealt with the funeral, telling it to everywhere. After three days they started to recite scriptures and after seven days they carried a coffin to the cemetery, Tiejia Temple, and later bring it back to its native place. At this moment people of Jia came together to express condolences. Rong Mansion sent twenty silvers and Jia Zheng, Ning Mansion's Jia Zhen were the same, while other people sent one, two, three, four slivers which are not the same because of their different treasures. Besides there was others who studied together made a raise to sent about twenty slivers.  Though Jia Diaru's family was poor, after getting such a help, it had finished the funeral with abundant sources.&lt;br /&gt;
&lt;br /&gt;
But at the end of the winter, because of Lin Ruhai's serious disease, Daiyu was asked to go home by a sent letter. Mrs Jia heard about this and became more worried. She helped Daiyu to puck up busily.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 08:40, 21 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
He asked servants to set fire to it. Then they heard a voice from the sky, &amp;quot;Who asks you to see the front? You believe the false as the truth by yourselves, why do you burn me?&amp;quot; Suddenly they saw the mirror flew through the sky. When he ran out the door, the only person he could see is the lame holy man, saying, &amp;quot;Who ruined ''Wind and Moon Book''?&amp;quot;. Then he snatched the mirror and went away on winds.&lt;br /&gt;
&lt;br /&gt;
Now his dealt with the funeral, telling it to everywhere. After three days they started to recite scriptures and after seven days they carried a coffin to the cemetery, Iron Jail Temple, and later bring it back to its native place. At this moment people of Merchant came together to express condolences. Prosperity Merchant sent twenty silvers and Master Merchant, Peace Mansion's Treasure Merchant were the same, while other people sent one, two, three, four slivers which are not the same because of their different treasures. Besides there was others who studied together made a raise to sent about twenty slivers.  Though his family was poor, after getting such a help, it had finished the funeral with abundant sources.&lt;br /&gt;
&lt;br /&gt;
But at the end of the winter, because of Forest Sea-like's serious disease, Mascara Jade was asked to go home by a sent letter. Grandma Merchant heard about this and became more worried. She helped Mascara Jade to puck up busily.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 13:28, 26 April 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210310_culture&amp;diff=123395</id>
		<title>20210310 culture</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210310_culture&amp;diff=123395"/>
		<updated>2021-06-16T05:17:05Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wǔ Sīyí 伍斯仪 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Homework 2 from Mar 10 for Mar 17, 2021&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
'''《红楼梦》程甲本'''&lt;br /&gt;
&lt;br /&gt;
Please find the most beautiful translations of names and jointly agree to use them. Please also list common terms and joint translation here:&lt;br /&gt;
*Jia Baoyu = Precious Jade&lt;br /&gt;
*Jia Yucun = Rain Village&lt;br /&gt;
*Lin Daiyu = Mascara Jade&lt;br /&gt;
*Zhen Shiyin = Hide-the-facts&lt;br /&gt;
*...(everybody please add more here)&lt;br /&gt;
&lt;br /&gt;
=Bào Qìnwén 鲍沁雯=&lt;br /&gt;
◎第六回 贾宝玉初试云雨情  刘老老一进荣国府&lt;br /&gt;
&lt;br /&gt;
却说秦氏因听见宝玉在梦中唤他的乳名，心中自是纳闷，又不好细问。彼&lt;br /&gt;
时宝玉迷迷惑惑，若有所失，众人忙端上桂圆汤来，喝了两口，遂起身整衣，袭人&lt;br /&gt;
伸手与他系裤带时，刚伸手至大腿处，只觉冰冷一片粘湿，唬的忙退出手来，问：&lt;br /&gt;
“是怎么了？”宝玉红涨了脸，把他的手一捻，袭人本是个聪明女子，年纪又比宝&lt;br /&gt;
玉大两岁，近来也渐省人事，今见宝玉如此光景，心中便觉察了一半，不觉羞得&lt;br /&gt;
红涨了脸面，遂不敢再问。仍旧理好了衣裳，随至贾母处来，胡乱吃过晚饭，过&lt;br /&gt;
这边来，袭人趁众奶娘丫鬟不在旁时，另取出一件中衣，与宝玉换上。&lt;br /&gt;
&lt;br /&gt;
宝玉含羞央道：“好姐姐，千万别告诉别人。”袭人含羞笑问道：“你梦见什&lt;br /&gt;
么故事了？是那里流出来的那些脏东西？”宝玉道：“一言难尽。”便把梦中之事&lt;br /&gt;
细说与袭人知了。说至警幻所授云雨之情，羞的袭人掩面伏身而笑。宝玉亦素&lt;br /&gt;
喜袭人柔媚姣俏，遂与袭人同领警幻所训云雨之事。袭人自知系贾母将他与了&lt;br /&gt;
宝玉的，今便如此，亦不为越理，遂和宝玉偷试了一番，幸无人撞见。自此宝玉&lt;br /&gt;
视袭人更与别个不同，袭人侍宝玉越发尽职。暂且别无话说。&lt;br /&gt;
&lt;br /&gt;
Chapter 6&lt;br /&gt;
&lt;br /&gt;
Baoyu Has His First Taste of the Forbidden Fruit&lt;br /&gt;
&lt;br /&gt;
Granny Liu Pays Her First Visit to the Rong Mansion&lt;br /&gt;
&lt;br /&gt;
Qin Keqing was confused to hear Baoyu call her childhood name in his dream, but she could hardly question him. As for Baoyu, he felt as bewildered as if he had lost his wits. Attendants promptly brought him a longan decoction and after sipping a couple of mouthfuls he got up to adjust his clothes. As Xiren reached out to fasten his trousers for him, she touched his thigh and found it cold and sticky. She drew back in alarm and asked what was the matter. With his face rushing red, Baoyu simply gripped her hand. Now Xiren was an intelligent girl， and being a couple of years older than Baoyu she already knew the facts of life. She guessed from the state he was in what must have happened and blushing herself helped him to tidy his clothes without any further questions. They went then to where the Lady Dowager was and after a hasty meal returned to his room, where in the absence of the other maids and nurses Xiren fetched him a change of clothes.  &amp;quot;Don’t tell anyone, please, dear sister.&amp;quot; begged Baoyu sheepishly. With an embarrassed smile she asked, “What did you dream about to dirty yourself like that?&amp;quot; &amp;quot;It’s a long story.” answered Baoyu, then he told her his dream in full, concluding with his initiation by Disenchantment into the &amp;quot;sport of cloud and rain.&amp;quot; Xiren, hearing this, covered her face and doubled up in a fit of giggles. Since Baoyu had long been attracted by Xiren’s gentle, coquettish ways, he urged her to carry out the instructions with him; and as she knew that the Lady Dowager had given her to Baoyu she felt this would not be an undue liberty. So, they tried it out secretly together, and luckily, they were not discovered. From that hour Baoyu treated Xiren with special consideration and she served him even more faithfully than before.&lt;br /&gt;
&lt;br /&gt;
Chapter 6&lt;br /&gt;
&lt;br /&gt;
Baoyu Has His First Taste of the Forbidden Fruit&lt;br /&gt;
&lt;br /&gt;
Granny Liu Pays Her First Visit to the Rong Mansion&lt;br /&gt;
&lt;br /&gt;
Miss Qin was confused to hear Baoyu call her childhood name in his dream, but she could hardly question him. As for Baoyu, he felt as bewildered as if he had lost his wits. Attendants promptly brought him a longan decoction and after sipping a couple of mouthfuls he got up to adjust his clothes. As Xiren reached out to fasten his trousers for him, she touched his thigh and found it cold and sticky. She drew back in alarm and asked what was the matter. With his face rushing red, Baoyu simply gripped her hand. Now Xiren was an intelligent girl, and being a couple of years older than Baoyu she already knew the sexual instinct. She guessed from the state he was in what must have happened and blushing herself helped him to tidy his clothes without any further questions. They went then to where the Lady Dowager was and after a hasty meal returned to his room, where in the absence of the other maids and nurses Xiren fetched him a change of clothes.  &amp;quot;Don’t tell anyone, please, dear sister.&amp;quot; begged Baoyu sheepishly. With an embarrassed smile she asked, “What did you dream about to dirty yourself like that?&amp;quot; &amp;quot;It’s a long story.” answered Baoyu, then he told her his dream in full, concluding with his initiation by Disenchantment into the &amp;quot;sport of cloud and rain.&amp;quot; Xiren, hearing this, covered her face and doubled up in a fit of giggles. Since Baoyu had long been attracted by Xiren’s gentle, coquettish ways, he urged her to carry out the instructions with him; and as she knew that the Lady Dowager had given her to Baoyu she felt this would not be an undue liberty. So, they tried it out secretly together, and luckily, they were not discovered. From that hour Baoyu treated Xiren with special consideration and she served him even more faithfully than before.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 04:19, 17 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Chén Kērǔ  陈柯汝=&lt;br /&gt;
&lt;br /&gt;
按荣府一宅中台算起来，人口虽不多，从上至下，也有三百余口人；事虽不&lt;br /&gt;
多，一天也有一二十件，竟如乱麻一般，并没有个头绪可作纲领。正思从那一件&lt;br /&gt;
事那一个人写起方妙，却好忽从千里之外，芥豆之微，小小一个人家，因与荣府&lt;br /&gt;
略有些瓜葛，这日正往荣府中来，因此便就这一家说起，倒还是个头绪。&lt;br /&gt;
&lt;br /&gt;
原来这小小之家，姓王，乃本地人氏，祖上曾做过一个小小京官，昔年曾与&lt;br /&gt;
风姐之祖王夫人之父认识。因贪王家的势利，便连了宗，认作侄儿。那时只有&lt;br /&gt;
王夫人之大兄凤姐之父与王夫人随在京的知有此一门远族，余者皆不知也。目&lt;br /&gt;
今其祖早故，只有一个儿子，名唤王成，因家业萧条，仍搬出城外原乡中住了。&lt;br /&gt;
王成亦相继身故，有子小名狗儿，娶妻刘氏，生子小名板儿；又生一女，名唤青&lt;br /&gt;
儿。一家四口，以务农为业。因狗儿白日间又作些生计，刘氏又操井臼等事，青&lt;br /&gt;
板姊弟两个，无人管着，狗儿遂将岳母刘老老接来，一处过活。&lt;br /&gt;
&lt;br /&gt;
Counting up people living in Rong residence, the population was not large. From masters to servants, there were about 300 people; Although not many things, there were one or two dozen a day, they seemed to be in confusion, and there was no clue to make a program. Wondering who or what to write about, suddenly from a thousand miles away, an insignificant man who had something to do with Rong House was heading to Rong House this day. So let us talk about this person as a lead-in.&lt;br /&gt;
&lt;br /&gt;
The insignificant person’s last name was Wang, a native, whose grandfather was an inconsequential official, and had a friendship with Mrs.Wang’s father, Miss Feng’s grandfather. Wang Family was powerful and influential, and that official was so greed for the power of Wang that they joined the clan and recognized them as uncles. At that time, only the older brother of Mrs. Wang as well as the father of Miss Feng and those who accompanied with Mrs.Wang in the capital know there was a distant clan of this family while the rest did not know. Nowadays, the grandfather died early, and he had a son, Wang Cheng. Wang Cheng moved from the city to the countryside because of poverty. Wang Cheng died then and he had a son, whose name was little dog. Little dog had a wife Mrs. Liu, and a son, Board as well as a daughter, Green. The family of four, worked as farmers. As little dog went outside to earn money in the day, and Mrs. Liu manipulated the well scoop, Green and Board were left alone, so Little dog brought his mother-in-law to live with them in one place.&lt;br /&gt;
&lt;br /&gt;
Counting up people living in Rong Mansion, the population was not large. From masters to servants, there were about 300 people; Although not many things, there were one or two dozen a day. The things just like an pile of intertwined strings, having no thought as a reference to untie them. Wondering which is the best thing to write first, suddenly from a thousand miles away, an insignificant man who had something to do with Rong House was heading to Rong House this day. So let us talk about this person as a lead-in. The insignificant person’s last name was Wang, a native, whose grandfather was an inconsequential official, and once made friends with Mrs.Wang’s father, Miss Feng’s grandfather. Wang Family was powerful and influential, and that official was so greedy for the power of Wang that they joined the clan and regarded them as uncles. At that time, only the eldest brother of Mrs. Wang as well as the father of Miss Feng and those who accompanied with Mrs.Wang in the capital knew there was a distant clan of this family while the rest did not. Nowadays, as the grandfather died early, his only son, Wang Cheng, moved from the city to the countryside because of poverty. Wang Cheng died then and he had a son whose name was little dog. Little dog had a wife Mrs. Liu, a son, Board and a daughter, Green. The family of four worked as farmers. As little dog went outside to earn money in the day, and Mrs. Liu manipulated the well scoop, Green and Board were left alone, so Little dog brought his mother-in-law to live with them in one place.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 15:30, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Counting up people living in Honor Mansion, the population was not large. From masters to servants, there were about 300 people; Although not many things, there were one or two dozen a day, they seemed to be in confusion, and there was no clue to make a program. Wondering who or what to write about, suddenly from a thousand miles away, an insignificant man who had something to do with Honor Mansion was heading to Honor Mansion this day. So let us talk about this person as a lead-in.&lt;br /&gt;
&lt;br /&gt;
The insignificant person’s last name was Wang, a native, whose grandfather was an inconsequential official, and had a friendship with Lady King’s father, Madame Phoenix’s grandfather. Wang Family was powerful and influential, and that official was so greed for the power of Wang that they joined the clan and recognized them as uncles. At that time, only the older brother of Mrs. King as well as the father of Madame Phoenix and those who accompanied with Mrs.King in the capital know there was a distant clan of this family while the rest did not know. Nowadays, the grandfather died early, and he had a son, Success Wang. He moved from the city to the countryside because of poverty. He died then and he had a son, whose name was little dog. Little dog had a wife Mrs. Liu, and a son, Board as well as a daughter, Green. The family of four, worked as farmers. As little dog went outside to earn money in the day, and Mrs. Liu manipulated the well scoop, Green and Board were left alone, so Little dog brought his mother-in-law to live with them in one place.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 09:04, 4 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Dài Mùyǔ 戴沐雨=&lt;br /&gt;
    这刘老老乃是个久经世代的老寡妇，膝下又无子息，只靠两亩薄田度日。&lt;br /&gt;
如今女婿接了养活，岂不愿意，遂一心一计帮着女儿女婿过活起来。因这年秋&lt;br /&gt;
尽冬初，天气冷将上来，家中冬事未办，狗儿未免心中烦虑，吃了几杯闷酒，在家&lt;br /&gt;
闲寻气恼，刘氏不敢顶撞。因此刘老老看不过，乃劝道：“姑爷，你别嗔着我多&lt;br /&gt;
嘴，咱们村庄人家，那一个不是老老诚诚守着多大碗儿吃多大的饭。你皆因年&lt;br /&gt;
小时，托着那老的福，吃喝惯了，如今所以把持不定，有了钱就顾头不顾尾，没了&lt;br /&gt;
钱就瞎生气，成了什么男子汉大丈夫了！如今咱们虽离城住着，终是天子脚下。&lt;br /&gt;
这‘长安’城中，遍地皆是钱，只可惜没人会去拿罢了。在家跳蹋也没用。”狗儿&lt;br /&gt;
听了道：“你老只会在炕头上坐着混说，难道叫我打劫去不成？”刘老老说道：&lt;br /&gt;
“谁叫你打劫去呢？也到底大家想个方法儿才好。不然，那银子钱会自己跑到&lt;br /&gt;
咱们家里来不成？”狗儿冷笑道：“有法儿还等到这会子呢！我又没有收税的亲&lt;br /&gt;
戚、做官的朋友，有什么法子可想的？便有，也只怕他们未必来理我们呢。”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Grandma Liu was a sophisticated old widow, who didn’t have sons, only living on two acres of croplands. Of course she was willing to live with her son-in-law, so she put all her hearts on his family. As in the changeover period between autumn and winter, the weather seemed to be colder. Having unprepared for the winter, The-Dog was anxious about it, then drinking a lot and staying at home angrily. Seeing this, Liu dared not to disturb him, but just persuaded:” I’m afraid I will be a little bit prolix, but I have to say something. When we lived in the countryside, the size of the bowl determined the amount we eat. Since the senior spoiled you at an early age, you’ve been accustomed to the steadiness. The reason why you feel nervous is that you squander with the money, and when you lose it, you are out of control. The way you handle the problem cannot be referred as what a man does! Though we live far away from the capital, it is still under the reign of the emperor. You can pick up money wherever in Chang An but pitifully nobody dares to do it. It is no use to blow up at us at home.” Hearing that, The-Dog replied: ”You just have the capacity of making sarcastic comments sitting on the bed. What could I do? To rob?” Grandma Liu said:” Who have required you to rob? It will be much better if we all come up with a good idea. After all, money cannot run to our house.” The-Dog sneered: ”If I have had ideas, I wouldn’t have waited till now. Anyway, I have no friend who are taxmen or officials, so what means should I have? Even if these friends are do existent, I’m not sure they are willing to pay attention to us.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 12:35, 14 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Grandma Liu was a sophisticated old widow, who didn’t have sons, only living on two acres of croplands. Of course she was willing to live with her son-in-law, so she devoted herself to his family. As in the changeover period between autumn and winter, the weather seemed to be colder. Having unprepared for the winter, Gou er was anxious about it. Having drunk a lot, he stayed at home angrily. Seeing this, Dame Liu dared not to disturb him, but just persuaded:” I’m afraid I will be a little bit prolix, but I have to say something. When we lived in the countryside, the size of the bowl determined the amount we eat. Since the senior spoiled you at an early age, you’ve been accustomed to the steadiness. The reason why you feel nervous is that you squander with the money, and when you lose it, you are out of control. The way you handle the problem cannot be referred as what a man does! Though we live far away from the capital, it is still under the reign of the emperor. You can pick up money wherever in Chang An but pitifully nobody dares to do it. It is no use to blow up at us at home.” Hearing that, The-Dog replied: ”You just have the capacity of making sarcastic comments sitting on the bed. What could I do? To rob?” Grandma Liu said:” Who have required you to rob? It will be much better if we all come up with a good idea. After all, money cannot run to our house.” The-Dog sneered: ”If I have had ideas, I wouldn’t have waited till now. Anyway, I have no friend who are taxmen or officials, so what means should I have? Even if these friends are do existent, I’m not sure they are willing to pay attention to us.”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 07:02, 17 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Dèng Dān 邓丹=&lt;br /&gt;
    刘老老道：“这倒也不然。‘谋事在人，成事在天’，咱们谋到了，靠菩萨的保佑，有些&lt;br /&gt;
机会，也未可知。我倒替你们想出一个机会来。当日你们原是和金陵王家连过&lt;br /&gt;
宗的，二十年前，他们看承你们还好，如今是你们拉硬屎，不肯去俯就他，故疏远&lt;br /&gt;
起来。想当初我和女儿还去过一遭，他家的二小姐，着实爽快会待人的，倒不拿&lt;br /&gt;
大。如今现是荣国府贾二老爷的夫人，听得他们说，如今上了年纪，越发怜贫恤&lt;br /&gt;
老，最爱斋僧布施。如今王府虽升了边任，只怕二姑太太还认得咱们，你何不去&lt;br /&gt;
走动走动？或者他还念旧，有些好处亦未可知。只要他发一点好心，拨一根寒&lt;br /&gt;
毛比咱们的腰还壮呢。”刘氏一旁接口道：“你老说得是，你我这样嘴脸，怎么好&lt;br /&gt;
到他门上去？只怕他那门上人也不肯去通报，没的去打嘴现世。”&lt;br /&gt;
    谁知狗儿利名心重，听如此说，心下便有些活动起来；又听他妻子这番话，&lt;br /&gt;
便笑接道：“老老既如此说，况且当日你又见过这姑太太一次，何不你老人家明&lt;br /&gt;
日就去走一遭，先试试风头看。”&lt;br /&gt;
&lt;br /&gt;
Granny Liu replied,” Not certainly all like this. ‘Man proposes, God disposes’. If we achieve something, it must be the blessing of god. There are always some chances unknown. I’ve got an idea for you. You were connected with Wang family of Jinling in the past. Twenty years ago, they were willing to help. But your self-righteous results in the alienation of your relationship. I remember visiting the family with my daughter, the second daughter remained modest and had impeccable manners, who is now the wife of Jia in Rongguo Mansion. She is getting old and it is said that she shows more compassion for the poor and old, and devotes herself to give food or alms to Buddhist monks and nuns. Now the palace has been promoted, but she should still know us. Why don't you pay a visit? If she still keeps old friendships in mind, maybe you can get some benefits from it. And as long as she shares a little kindness, it is enough to satisfy us. “You are right, but how can we have the decency to come? Even if we did visit, the doorman might not be willing to announce us. It would be a disgrace,” added by Dame Liu.&lt;br /&gt;
Gou er is very careful about fame and fortune. Hearing Grandma Liu's suggestion, he has a plan in his heart. And after his wife’s words, he said with a smile, &amp;quot; Granny Liu, since you have seen your wife once before, why don't you visit her first to help?”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 11:19, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Granny Liu replied,” Not certainly all like this. ‘Man proposes, God disposes’. If we achieve something, it must be the blessing of god. There are always some chances unknown. I’ve got an idea for you. You were connected with Wang family of Jinling in the past. Twenty years ago, they were willing to help. But your self-righteous results in the alienation of your relationship. I remember visiting the family with my daughter, the second daughter remained modest and had impeccable manners, who is now the wife of Romance Merchant in Rongguo Mansion. She is getting old and it is said that she shows more compassion for the poor and old, and devotes herself to give food or alms to Buddhist monks and nuns. Now the palace has been promoted, but she should still know us. Why don't you pay a visit? If she still keeps old friendships in mind, maybe you can get some benefits from it. And as long as she shares a little kindness, it is enough to satisfy us. “You are right, but how can we have the decency to come? Even if we did visit, the doorman might not be willing to announce us. It would be a disgrace,” added by Dame Liu.&lt;br /&gt;
Gou er is very careful about fame and fortune. Hearing Granny Liu's suggestion, he has a plan in his heart. And after his wife’s words, he said with a smile, &amp;quot; Granny Liu, since you have seen your wife once before, why don't you visit her first to help?”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 15:48, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Granny Liu replied,” Not certainly  like this at all. ‘We proposes, God disposes’. If we achieve something, it must be a blessing of god. There are always some chances we don’t know. I’ve got an idea for you. You were connected with Wang family of Jinling in the past. Twenty years ago, they were willing to help. But your self-righteous results in the cold of your relationship. I remember visiting the family with my daughter, the second daughter remained modest and had warm-hearted manners, who is now the wife of Jia in Rongguo Mansion. She is getting old and it is said that she shows much compassion for the poor and the  old, and devotes herself to give food or alms to Buddhist monks and nuns. Now the palace has been promoted, but she should still know us. Why don't you pay a visit? If she still keeps old friendships in mind, maybe you can get some benefits from her. And as long as she shares a little kindness to us , it is enough to satisfy us. “You are right, but how can we have reasons to come? Even if we do visit, the doorman might not be willing to announce us. It would be a tease ,” added by Dame Liu.&lt;br /&gt;
Gou er is very careful about fame and fortune. Hearing Grandmother  Liu's suggestion, he has a plan in his heart. And after listening to his wife’s words, he said with a smile, &amp;quot; Grandmother  Liu, since you have seen your wife once before, why don't you visit her first and help her?”----[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 13:42, 22 March 2021 (UTC)Ding Zhongxia&lt;br /&gt;
&lt;br /&gt;
=Dīng Zhòngxià 丁仲夏=&lt;br /&gt;
    刘老老道：“哎哟！可是说的，‘侯门似海’，我&lt;br /&gt;
是个什么东西，他家人又不认得我，去了也是白去的。”狗儿道：“不妨，我教你个&lt;br /&gt;
法儿：你竟带了外孙小板儿先去找陪房周瑞，若见了他，就有些意思了。这周瑞&lt;br /&gt;
先时曾和我父亲交过一桩事，我们本极好的。”刘老老道：“我也知道。只是许&lt;br /&gt;
多时不走动，知道他如今是怎样？这说不得的了，你又是个男人，这样个嘴脸，&lt;br /&gt;
自然去不得。我们姑娘年轻媳妇，也难卖头卖脚去，倒还是舍了我这副老脸去&lt;br /&gt;
碰一碰。果然有些好处，也大家有益。”当晚计议已定。&lt;br /&gt;
    次日天未明时，刘老老便起来梳洗了，又将板儿教了几句话；五六岁的孩&lt;br /&gt;
子，听见带了他进城逛去，便喜的无不应承。于是刘老老带了板儿，进城至宁荣&lt;br /&gt;
街来。至荣府大门前石狮子旁，只见簇簇的轿马。刘老老便不敢过去，且掸掸&lt;br /&gt;
衣服，又教了板儿几句话，然后蹲在角门前，只见几个挺胸凸肚，指手画脚的人&lt;br /&gt;
坐在大门上，说东谈西的。&lt;br /&gt;
&lt;br /&gt;
Grandmother Liu says:&amp;quot;Orch!It is said 'nobility home lkes the ocean'.I am which?His family don't know me definitely.Visiting is inferior to not visit.Gouer says:&amp;quot;How about I tell you a solution--you can take your grandson Xiaoban to find the fellow person Zhourui.If you meet him, that would be a little bit interesting.Zhourui used to work with my father at his young age.We used to have a very good frendship.&amp;quot;Grandmother Liu says:&amp;quot;I know this.But long time no see,I don't know how is he going today.This can't be expressed by language.You are a man,but not decent.So you are not appropriate to meet him.Our girl is a new wife.So she is not appropriate to go.I am the only one to put down my face and meet him.This has some benefits and is good to all the people.&amp;quot;They make a conclusion tonight.&lt;br /&gt;
The next day,before sunrise,Grandmother Liu gets up and washes herself.She teaches Baner,a five year old kid, some words.The kid is excited about the news that Grandmother Liu plans to take him wandering in the capital.So he agree immediately.Therefore,Grandmother Liu take Baner,entering the capital and going to Ningrong Street. When they walk before the side of rock lion, they just see a series of coupes. Grandmother Liu is afraid to step in.So she tidies her cloth and teaches Baner some words,and then she squats before the corner gate.She only see some people who stand beside the door and has a huge body,talking about something.&lt;br /&gt;
&lt;br /&gt;
=Dù Xīnyǔ 杜心语=&lt;br /&gt;
刘老老只得挨上前来问：“太爷们纳福。”众人打量&lt;br /&gt;
了他一会，便问：“是那里来的？”刘老老陪笑道“我找太太的陪房周大爷的，烦&lt;br /&gt;
那位太爷替我请他出来。”那些人听了，都不睬他，半日，方说道：“你远远的那墙&lt;br /&gt;
脚下等着，一会子他们家里有人就出来的。”内中有一年老的说道：“不要误了&lt;br /&gt;
他的事，何苦耍他。”因向刘老老道：“那周大爷往南边去了。他在后一带住着，&lt;br /&gt;
他娘子却在家。你从这边绕到后街门上找就是了。”&lt;br /&gt;
&lt;br /&gt;
刘老老谢了，遂携着板儿绕至后门上，只见门上歇着些生意担子，也有卖&lt;br /&gt;
吃的，也有卖玩要的物件，闹吵吵三二十个孩子在那里厮闹。刘老老便拉住一&lt;br /&gt;
个道：“我问哥儿一声，有个周大娘可在家么？”孩子道：“那个周大娘？我们这&lt;br /&gt;
里周大娘有三个呢，还有两位周奶奶，不知是那一行当上的？”刘老老道：“他是&lt;br /&gt;
太太的陪房。”孩子道：“这个容易，你跟我来。”引着刘老老进了后院，至一院墙&lt;br /&gt;
边，指道：“这就是他家。”忙又叫道：“周大妈，有个老奶奶找你呢。”&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Where are you from?&amp;quot; he asked Granny Liu said with a smile, &amp;quot;I'm looking for my wife's servant, uncle Zhou. Please come back&lt;br /&gt;
&lt;br /&gt;
You ask him out for me. &amp;quot; Those people listen, ignore her, wait for a while, just say: &amp;quot;you stay away, wait in the corner, after a while, someone in their family will come out.&amp;quot; The old man said, &amp;quot;don't miss her. There's no need to fool her.&amp;quot; So he said to granny Liu, &amp;quot;Uncle Zhou has left towards the south. He lives in the back area, but his wife is at home. You just go around here and look at the back door. &amp;quot;&lt;br /&gt;
&lt;br /&gt;
Granny Liu said thank you, and then she took Baner to the back door. But she saw that there were some business burdens in the back door, some selling food and some selling playthings. There were noisy thirty or twenty children there. Granny Liu grabbed one and said, &amp;quot;let me ask you, is there a woman named aunt Zhou at home?&amp;quot; The child said, &amp;quot;aunt Zhou? We have three grannies here, and two grannies here. Who do you want Granny Liu said, &amp;quot;she is my wife's maid.&amp;quot; The child said, &amp;quot;this is easy to find. Follow me.&amp;quot; The child took granny Liu into the backyard, went to a wall, pointed and said, &amp;quot;this is her home.&amp;quot; &amp;quot;Aunt Zhou, there's an old woman looking for you,&amp;quot; she said&lt;br /&gt;
&lt;br /&gt;
Granny Liu edged forward and said, “Greetings, gentlemen.” The men surveyed her from head to foot before condescending to ask where she had come from. “I’ve come to see Mr. Surrounding who came with Lady King when she was married,” she told them with a smile. “May I trouble one of you gentlemen to fetch him out for me?” The men ignored her for a while, but finally one of them said, “Wait over there by that corner. One of his family may come out by and by.” An older man interposed, “Why make a fool of her and waste her time?”  He told Granny Liu, “Old Surrounding has gone south but his wife is at home. His house is at the back. Go round to the back gate and ask for her there.” &lt;br /&gt;
Having thanked him, Granny Liu took Board round to the back gate. Several pedlars had put down their wares there and about two dozen rowdy servant boys had crowded round those selling snacks and toys. The old woman caught hold of one of these youngsters and asked, &amp;quot;Can you tell me, brother, if Mrs. Surrounding is at home?” “Which Mrs. Surrounding?” he retorted. “We have three Mrs. Surroundings and two Granny Surroundings. What’s her job?” “She’s the wife of Auspicious Surrounding who came with Lady King.” “That’s easy then. Come with me.” He scampered ahead of her through the back gate and pointed out a compound. “That’s where she lives.” Then he called, “Auntie Surrounding! Here’s a granny asking for you.”&lt;br /&gt;
--[[User:Guo YaBo|Guo YaBo]] ([[User talk:Guo YaBo|talk]]) 05:09, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Guō Yàbō 郭亚波=&lt;br /&gt;
    周瑞家的在内忙迎了出来，问：“是那位？”刘老老迎上来问了个：“好呀，周&lt;br /&gt;
嫂子。”周瑞家的认了半日，方笑道：“刘老老，你好呀？你说，这几年不见，我就&lt;br /&gt;
忘了。请家里坐。”刘老老一面走，一面笑说道：“你老是‘贵人多忘事’了，那里&lt;br /&gt;
还记得我们？”说着，来至房中，周瑞家的命雇的小丫头倒上茶来吃着。周瑞家&lt;br /&gt;
的又问：“板儿倒长了这么大了！”又问些别后闲话，又问刘老老：“今日还是路&lt;br /&gt;
过，还是特来的？”刘老老便说：“原是特来瞧瞧体嫂子，二则也请请姑太太的安。&lt;br /&gt;
若可以领我见一见更好，若不能，便借重嫂子转致意罢了。”&lt;br /&gt;
    周瑞家的听了，便已猜着几分来意。只因他丈夫昔年争买田地一事，多得&lt;br /&gt;
狗儿之力，今见刘老老如此，心中难却其意；二则也要显弄自已的体面。便笑&lt;br /&gt;
说：“老老你放心。大远的诚心诚意来了，岂有个不教你见个正佛去的？论理，&lt;br /&gt;
人来客至，回话却不与我相干。我们这里都是各占一样儿：我们男的只管春秋&lt;br /&gt;
两季地租子，闲时带着小爷们出门就完了；我只管跟太太奶奶们出门的事。&lt;br /&gt;
&lt;br /&gt;
Family of Auspicious hurried out to see who it was while Granny Liu hastened forward crying, “Sister Zhou! How are you?” It took the other some time to recognize her. Then she answered with a smile, “Why, it’s Granny Liu! I declare, after all these years I hardly knew you. Come on in and sit down.” Smiling as she walked in, Granny Liu remarked, &amp;quot;The higher the rank, the worse the memory. How could you remember us?” Once indoors,  Family of Auspicious told a maid to pour tea. Then looking at Dimness she exclaimed, “What a big boy he is!” After a short exchange of polite inquiries, she asked Granny Liu whether she just happened to be passing or had come with any special object. “I came specially to see you, sister, and also to inquire after Her ladyship’s health. If you could take me to see her, that would be nice. If you can’t, I’ll just trouble you to pass on my respects.” This gave Family of Auspicious a shrewd idea of the reason for her visit. Since Gouer had helped her husband to purchase some land, she could hardly refuse Granny Liu’s appeal for help. Besides, she was eager to show that she was someone of consequence in this household. “Don’t worry, granny,” she replied with a smile. “You’ve come all this way in good earnest and of course I’ll help you to see the real Buddha. Strictly speaking, it’s not my job to announce visitors. We all have different duties here. My husband, for instance, just sees to collecting rents in spring and autumn or escorting the young gentlemen in his spare time, while all I do is accompany the ladies on their outings.&lt;br /&gt;
&lt;br /&gt;
－－～～～～&lt;br /&gt;
Mrs. Zhou hurried out to see who it was while Granny Liu hastened forward crying, “Sister Zhou! How are you?” It took some other time to recognize her. Then she answered with a smile, “Who, it’s Granny Liu! I declare, after all these years I hardly know you. Come on in and sit down please.” Smiling as she walked in, Granny Liu remarked, &amp;quot;The higher the rank, the worse the memory. How could you remember us?” Once indoors, Mrs. Zhou told a maid to pour tea. Then looking at Baner she exclaimed, “What a big boy he is!” After a short exchange of polite inquiries, she asked Granny Liu whether she just happened to be passing or had come with any special object. “I came specially to see you, sister, and also to inquire after Her ladyship’s health. If you could take me to see her, that would be nice. If you can’t, I’ll just trouble you to pass on my respects.” This gave Mrs. Zhou a shrewd idea of the reason for her visit. Since Gouer had helped her husband to purchase some land, she could hardly refuse Granny Liu’s appeal for help. Besides, she was eager to show that she was someone of consequence in this household. “Don’t worry, granny,” she replied with a smile. “You’ve come all this way in good earnest and of course I’ll help you to see the real Buddha. Strictly speaking, it’s not my job to announce visitors. We all have different duties here. My husband, for instance, just sees to collecting rents in springs and autumns or escorting the young gentlemen in his spare time, while all I do is accompanying the ladies on their outings.&lt;br /&gt;
&lt;br /&gt;
=Huáng Fāngfāng 黄芳芳=&lt;br /&gt;
皆因你老是太太的亲戚，又拿我当个人，投奔了我来，我竟破个例与你通个信去。&lt;br /&gt;
但只一件，老老有所不知，我们这里不比五年前了，如今太太不大理事，都是琏&lt;br /&gt;
二奶奶当家了。你道这琏二奶奶是谁？就是太太内侄女儿，当日大舅老爷的女&lt;br /&gt;
儿，小名凤哥的。”刘老老听了，罕问道：“原来是他？怪道呢，我当日就说他不错&lt;br /&gt;
的。这等说来，我今儿还得见了他。”周瑞家的道：“这个自然的，如今有客来，都&lt;br /&gt;
是这凤姑娘周旋接待，今儿宁可不见太太，倒要见他一面，才不枉走这一遭儿。”&lt;br /&gt;
刘老老道：“阿弥陀佛！这全仗嫂子方便了。”周瑞家的说：“老老说那里话来？&lt;br /&gt;
俗语说的：‘与人方便，自己方便。’不过用我一句话儿，那里费了我什么事。”说&lt;br /&gt;
着，便唤小丫头到倒厅上悄悄的打听老太太屋里摆了饭没有，小丫头去了。&lt;br /&gt;
&lt;br /&gt;
这里二人又说了些闲话。刘老老因说：“这位凤姑娘，今年不过二十岁罢&lt;br /&gt;
了，就这等有本事，当这样的家，可是难得的。”周瑞家的听了道：“嗐！我的老&lt;br /&gt;
老，告诉不得你呢。&lt;br /&gt;
Now that you are one of Grandma Merchant's relatives and moreover you think that I am someone and went to me for shelter, I am going to make an exception for you, giving a report. However, there is only one thing you have to notice. Grandma, you maybe don't know something. It's different now from five years ago because instead of Grandma Merchant, it is Mrs Romance that takes charge of the whole family. Do you know who Mrs Romance is? She is Grandma Merchant's niece, the present master's daughter, the one whose childhood name is Phoenix.&amp;quot; Having heard about it, Granny Liu says:&amp;quot; Is she that person? No wonder that I thought highly of her that day. If so, I have met her today.&amp;quot; Family (Servants) of Auspicious Surrounding  explains:&amp;quot; It 's not weird. These days it's Sister  Phoenix who treats visitors and socializes. You should prefer to calling on Lady Phoenix rather than paying a visit to Grandma Merchant, which makes your travel worth.&amp;quot; Granny Liu whispered :&amp;quot; Amitabha! This is all looking to elder sister.&amp;quot; Family (Servants) of Auspicious Surrounding replied:&amp;quot; What are you saying mow? As a saying goes :'To give a hand to others is to give a hand to myself.' For me, nothing costs but for a sentence.&amp;quot; Chatting with Granny Liu, Family (Servants) of Auspicious Surrounding asks a girl to inquire about whether dishes have been put in Grandma Merchant's room. The girl goes.&lt;br /&gt;
&lt;br /&gt;
They keep chatting for a while then. Granny Liu comments :&amp;quot; 20 years old as she is , Lady Phoenix is able to act like this. It's extraordinary to keep house for such a family.” Family (Servants) of Auspicious Surrounding says :&amp;quot; Hi! my Grandma, it's unsuitable to tell you.&lt;br /&gt;
&lt;br /&gt;
=Huáng Lìpèi 黄沥霈=&lt;br /&gt;
    这位凤姑娘年纪虽小，行事却比是人都大呢。如今出挑得&lt;br /&gt;
美人一般的模样儿，少说些有一万个心眼子，再要赌口齿，十个会说的男人也说&lt;br /&gt;
不过他呢。回来你见了就知道了。就只一件，待下人未免严了些。”说着，小丫&lt;br /&gt;
头回来说：“老太太屋里巳摆完了饭，二奶奶在太太屋里呢。”周瑞家的听了，连&lt;br /&gt;
忙起身催着刘老老：“快走，这一下来他吃饭是空儿，咱们先等着去了。若迟一&lt;br /&gt;
步，回事的人多了，就难说话。再歇了中觉，越发没了时候了。”&lt;br /&gt;
    说着，一齐下了炕，整顿衣服，又教了板儿几句话，随着周瑞家，逶迤往贾琏&lt;br /&gt;
的住宅来。先至倒厅，周瑞家的将刘老老安插在那里略等一等，自己先过影壁，&lt;br /&gt;
走进了院门，知凤姐未出来，先找着了凤姐的一个心腹通房大丫头名唤平儿的。&lt;br /&gt;
周瑞家的先将刘老老起初来历说明，又说：“今日大远的来请安，当日太太是常&lt;br /&gt;
会的，今儿不可不见，所以我带了他进来等奶奶下来，我细细回明，谅奶奶也不&lt;br /&gt;
责我莽撞的。”平儿听了，便作了个主意：“叫他们进来，先在这里坐着就是了。”&lt;br /&gt;
&lt;br /&gt;
But this Lady Phoenix, although she was young, nevertheless she was superior to any man in her behavior. Now, she has excelled the others and developed the features of a beautiful young woman. To say the least, she has ten thousand eyes in her heart, and if they were willing to bet their mouths, even ten men gifted with the quality of conveying their thoughts and feeling effectively could not surpass her. When you have seen her, you will know all about her. There is only this thing, she can't help being too strict in her behavior towards those who below her. While she was speaking, the young maid returned. &amp;quot;Repast has been ready in her honorable-lady's residence,&amp;quot; she reported, &amp;quot;second older lady is in Lady King's chamber.&amp;quot; As soon as Auspicious Surrounding's wife heard this news, she speedily got up and pressed Granny Liu to go at once. &amp;quot;This is,&amp;quot; she urged, &amp;quot;just the moment when she was taking her meal, and as she is free, so we had better first go and wait for her, as if we reached even one step late, there will come a crowd of servants with their reports, after that it will be difficult to speak to her. Also, after her afternoon rest, she definitely have less time to us.&amp;quot; &lt;br /&gt;
&lt;br /&gt;
As she informed, they descended the couch together. Granny Liu adjusted the dresses and having a few words of advice on Patience. Then they followed Auspicious Surrounding's wife through the passages to Romance Merchant's house. They came into the side court where Auspicious Surrounding's wife placed Granny Liu to wait for a moment, while she herself went ahead, she went past the screen door and walked into the entrance of the court. Hearing that Lady Phoenix had not come out, she went in and searched a waiting-maid of Lady Phoenix, named Patience. Auspicious Surrounding's wife recounted the history of Granny Liu from beginning to end. &amp;quot;She has come along on this day,&amp;quot; she went on to explain, &amp;quot;from a distance to show her respect. In former days, our lady often used to meet her. In this occasion, she need to meet her and this is why I have brought her in! I will wait here for Lady Phoenix to come down and explain everything to her; and I trust her that she will not blame me on this overbearing rudeness.&amp;quot; After hearing what she said, Patience speedily conceived the plan of asking them to walk in and sit there pending for Lady Phoenix's arrival.&lt;br /&gt;
&lt;br /&gt;
Also, after her afternoon rest, she definitely have less time to us.→Also, after her afternoon rest, she definitely has less time for us.--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 13:28, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Xiàolán 黄笑兰=&lt;br /&gt;
    周瑞家的方出去领了他们进来。上了正房台阶，小丫头打起猩红毡帘，才人堂&lt;br /&gt;
屋，只闻一阵香扑了脸来，竟不辨是何气味，身子就似在云端里一般。满屋中之&lt;br /&gt;
物都是耀眼争光，使人头晕目眩，刘老老此时点头咂嘴念佛而已。于是引他到&lt;br /&gt;
东边这间屋里，乃是贾琏的大女儿睡觉之所。平儿站在炕沿边，打量了刘老老&lt;br /&gt;
两眼，只得问个好，让了坐。刘老老见平儿遍身绫罗，插金戴银，花容月貌，便当&lt;br /&gt;
是凤姐儿了，才要称“姑奶奶”，只见周瑞家的说：“他是平姑娘。”又见平儿赶着&lt;br /&gt;
周瑞家的叫他“周大娘”，方知不过是个有体面的丫头。于是让刘老老和板儿&lt;br /&gt;
上了炕，平儿和周瑞家的对面坐在炕沿上，小丫头们倒了茶来吃了。&lt;br /&gt;
    刘老老只听见咯当咯当的响声，大有似乎打罗柜筛面的一般，不免东瞧西&lt;br /&gt;
望的，忽见堂屋中柱子上挂着一个匣子，底下又坠着一个秤铊般一物，却不住的&lt;br /&gt;
乱晃，刘老老心中想着：“这是什幺东西？有煞用处呢？”正呆时，陡听得“当”的&lt;br /&gt;
一声，又若金钟铜磬一般，倒唬了一跳，展眼，接着又是一连八九下，方欲问时，&lt;br /&gt;
只见小丫头们一齐乱跑，说：“奶奶下来了。”&lt;br /&gt;
  &lt;br /&gt;
Mrs. Zhou went out to lead them in. As they went up the steps to the main room, a little maid raised a red curtain. They smelt a burst of incense when entered, but Granny Liu actually does not what it was, which made her feel she was in the clouds. She was so dizzied by everything in the room that she can't help nodding her head and smacking her lips to recite Buddha. So she was led to the east side room,  the bedroom of Jia Lian’s eldest daughter. Pinger stood by the kang, looking at Granny Liu, then greeted her and let her sit down. Granny Liu saw that Pinger was covered with damask, wearing gold and silver, and had a beautiful face, so he assumed that she was Xifeng. Before she greeted her &amp;quot;my lady&amp;quot; she heard Mr.s Zhou say she is a girl named Ping and the girl called her &amp;quot;Zhou Daniang&amp;quot;, so she knew she was just a decent girl. So they let Granny Liu and Baner sit on the kang, while Ping'er and Mr. Zhou sat opposite each other on the edge of the kang. Maids poured out tea for them.&lt;br /&gt;
  &lt;br /&gt;
Granny Liu heard a clattering sound, which may be made by a machine. Looking around, she saw a box hanging on the pillar in the room, and there was another thing like a scale swinging underneath. She wondered: &amp;quot;What is this? What could it be used for?&amp;quot; Suddenly, while she was thinking, she heard a loud sound like the sound of a bronze bell or copper chimes and it repeated eight or nine times. When she was about to ask, several maids ran and said, &amp;quot;Grandmother Jia is coming.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
  Mrs. Zhou went out to lead them in. As they went up the steps to the main room, a little maid raised a red curtain. They smelt a burst of incense when entered the room, but Granny Liu does not actually know what it was, which made her feel she were in the clouds. She was so dizzied by everything in the room that she can't help nodding her head and smacking her lips to recite Buddha. So she was led to the room on the east side,  the bedroom of Jia Lian’s eldest daughter. Pinger stood by the kang, looking at Granny Liu, then greeted her and let her sit down. Granny Liu saw that Pinger was dressed in damask, wearing gold and silver jewelry to match her beauty, so he assumed that she was Xifeng. Before she greeted her &amp;quot;my lady&amp;quot; she heard Mr.s Zhou saying she was a girl named Ping and the girl called her &amp;quot;Zhou Daniang&amp;quot;, so she knew she was just a decent girl. So they let Granny Liu and Baner sit on the kang, Ping'er and Mr. Zhou sitting opposite each other on the edge of the kang. Maids poured out tea for them.&lt;br /&gt;
  &lt;br /&gt;
Granny Liu heard a clattering sound, which may be made by a machine. Looking around, she saw a box hanging on the pillar in the room, and there was another thing like a scale swinging underneath. She wondered: &amp;quot;What is this? What could it be used for?&amp;quot; Suddenly, while she was thinking, she heard a loud sound like the sound of a bronze bell or copper chimes and it repeated eight or nine times. When she was about to ask, several maids ran and said, &amp;quot;Grandmother Jia is coming.&amp;quot;--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 05:33, 17 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Family (Servants) of Auspicious Surrounding went out to lead them in. As they went up the steps to the main room, a little maid raised a red curtain. They smelt a burst of incense when entered, but Granny Liu actually do not what it was, which made her feel she was in the clouds. She was so dizzied by everything in room that she can't help nodding her head and smacking her lips to recite Buddha. So she was led to the east side room, the bedroom of Romance Merchant's eldest daughter. Patience stood by the kang, looking at Granny Liu, then greeted her and let her sit down. Granny Liu saw that Patience was covered with damask, wearing gold and silver, and had a beautiful face, so he assumed that she was Sister Phoenix. Before she greeted her &amp;quot;my lady&amp;quot; she heared Family (Servants) of Auspicious Surrounding say she is a girl named Patience and the girl called her &amp;quot;Zhou Daniang&amp;quot;, so she knew she was just a decent girl. So they let Granny Liu and Baner sit on the kang, while Patience and Family (Servants) of Auspicious Surrounding sat opposite each other on the edge of the kang. Maids poured out tea for them.&lt;br /&gt;
&lt;br /&gt;
Granny Liu heard a clattering sound, which may be made by a machine. Looking around, she saw a box hanging on the pillar in the room, and there was another thing like a scale swinging underneath. She wondered: &amp;quot;What is this? What could it be used for?&amp;quot; Suddenly, while she was thinking, she heard a loud sound like the sound of bronze bell or copper chimes and it repeated eight or nine times. When she was about to ask, several maids ran and said, &amp;quot;Grandma Merchant is coming.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 16:31, 26 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Huáng Zǐlóng 黄梓龙 Mr.=&lt;br /&gt;
    平儿与周瑞家的忙起身说：“刘老老只管坐着，等是时候，我们来请你。”说着迎出去了。&lt;br /&gt;
    刘老老只屏声侧耳默候，只听远远有人笑声，约有一二十个妇人，衣裙窸&lt;br /&gt;
窣，渐入堂屋，往那边屋内去了。又见三两个妇人，都捧着大红漆捧盒，进这边&lt;br /&gt;
来等侯。听得那边说道“摆饭”，渐渐的人才散出去，只有伺候端菜的几人。半&lt;br /&gt;
日鸦雀不闻。忽见两个人抬了一张炕桌来，放在这边炕上，桌上碗盘摆列，仍是&lt;br /&gt;
满满的鱼肉在内，不过略动了几样。板儿一见了便吵着要肉吃，刘老老一巴掌&lt;br /&gt;
打了开去。忽见周瑞家的笑嘻嘻走过来，招手儿叫他，刘老老会意，于是带着板&lt;br /&gt;
儿下炕，至堂屋中，周瑞家的又和他咕唧了一会，方蹭到这边屋内。&lt;br /&gt;
    只见门外铜钩上悬着大红洒花软帘，南窗下是炕，炕上大红条毡，靠东边&lt;br /&gt;
板壁立着一个锁子锦靠背与一个引枕，铺着金心线闪缎大坐褥，傍边有银唾盒。&lt;br /&gt;
那凤姐家常带着紫貂昭君套，围着那攒珠勒子，穿着桃红洒花袄，石青刻丝灰鼠&lt;br /&gt;
披风，大红洋绉银鼠皮裙；粉光脂艳，端端正正坐在那里，手内拿着小铜火箸儿&lt;br /&gt;
拨手炉内的灰。&lt;br /&gt;
&lt;br /&gt;
   Pinger and Zhourui's wife stood up immediately and said,&amp;quot;Just sit&lt;br /&gt;
 and relax,Granny Liu,we will come to tell you when it's time.&amp;quot;&lt;br /&gt;
   Granny Liu waited silently with ears flapping and heard laughter &lt;br /&gt;
 far away.Some ten or twenty women,dress rustling,came into the central &lt;br /&gt;
 room one by one and went towards the rooms on the other side.Another &lt;br /&gt;
 two or three all holding bright boxes came into rooms on this side and&lt;br /&gt;
 waited.Someone shouted,&amp;quot;Serve the dishes,&amp;quot; when the crowd gradually &lt;br /&gt;
 dispersed,only several left to serve the dishes.After that was silence&lt;br /&gt;
 that lasted for half a day.Suddenly two persons lifted a Kang Table&lt;br /&gt;
 inside and placed it on the kang here, dishes of fish and meat placed&lt;br /&gt;
 on it,with some eaten a little.Once seeing the meat, Baner clamored&lt;br /&gt;
 for it, only to be slapped by Granny Liu. At this moment,Zhourui's &lt;br /&gt;
 wife came with a smile and waved her hands to call Granny Liu,who got&lt;br /&gt;
 her meaning and then get off the kang with Baner and went into the &lt;br /&gt;
 central room. Zhourui's wife chatted with her for a while before she &lt;br /&gt;
 came into the room.&lt;br /&gt;
   Soft red-flowered curtain were hanging on the copper hook on the door.&lt;br /&gt;
Under the southern window was a kang with a red strip felt on it.A suozi &lt;br /&gt;
brocade with a cushion leaned against the partition on the east side, &lt;br /&gt;
which was covered by a large seat pad of gold cloth and accompanied by&lt;br /&gt;
a silver salivary box. Sister Feng often carried a purple Wang zhaojun set,&lt;br /&gt;
wearing a string of beads, a short pink coat and a cyan squirrel cloak, &lt;br /&gt;
along with a red snow-weasel leather dress.She was sitting there uprightly&lt;br /&gt;
with a bright make-up and fiddle with the ashes in the handwarmer with &lt;br /&gt;
small copper sticks.&lt;br /&gt;
&lt;br /&gt;
Just sit down. We will invite you in appropriate time.&lt;br /&gt;
Liu waits in the room ,holding her breath to hear.&lt;br /&gt;
Ten or twenty women with their dresses rustling come in …&lt;br /&gt;
Soft red-flowered curtain were suspending on the copper hook outside the door.   –Li Yihao&lt;br /&gt;
&lt;br /&gt;
=Lǐ Yìhào 李艺浩=&lt;br /&gt;
    平儿站在炕沿边，捧着小小的一个填漆茶盘，盘内一个小盖钟。&lt;br /&gt;
凤姐也不接茶，也不抬头，只管拨手炉的灰，慢慢的道：“怎么还不请进来？”一面&lt;br /&gt;
说，一面抬身要茶时，只见周瑞家的已带了两个人立在面前了，这才忙欲起身，&lt;br /&gt;
犹未起身，满面春风的问好，又嗔周瑞家的：“怎么不早说！”刘老老已是在地下&lt;br /&gt;
拜了数拜，问姑奶奶安。凤姐忙说：“周姐蛆，搀着不拜罢。我年轻，不大认得，&lt;br /&gt;
可也不知是什么辈数，不敢称呼。”周瑞家的忙回道：“这就是我才回的那个老&lt;br /&gt;
老了。”凤姐点头，刘老老已在炕沿上坐下了。板儿便躲在他背后，百般的哄他&lt;br /&gt;
出来作揖，他死也不肯。&lt;br /&gt;
    凤姐笑道：“亲戚们不大走动，都疏远了。知道的呢，说你们弃嫌我们，不&lt;br /&gt;
肯常来；不知道的那起小人，还只当我们眼里没有人似的。”刘老老忙念佛道：&lt;br /&gt;
“我们家道艰难，走不起，来了这里，没的给姑奶奶打嘴，就是管家爷们看着也&lt;br /&gt;
不像。”&lt;br /&gt;
Patience, standing on the edge of Kang, holds a small tea tray carved patterns that are filled with colourful lacker. And inside the tray, there is a small tea cup . Splendid Phoenix King, lowering her head and not picking up the tea, only absorbs herself in toying with the carbon ash inside her hand warmer. And she says indifferently and slowly: Why do not you invite her to come in?  And she is straightening up to take tea as speaking. At this moment, Family of Auspicious has brought two people to stand in front of her and until then, she seemingly, in the air of hurrying, remembers to stand up.   Before standing up, she pretends the air of cheerful to greet with Granny Liu and complains of  Family of Auspicious saying” Why don’t you tell me early?”Just Splendid Phoenix King speaking,Granny Liu has greeted with her, worshiping several times on bended knees.And then Splendid Phoenix King says immediately: Hurry up to help Granny Liu stand up. I am young and do not know a lot about Granny Liu’s seniority in the clan, so I dare not greet with Granny Liu.  As a result, Family of Auspicious relies quickly: this is that grandmother I’ve been motioned before.” Splendid Phoenix King nods and Granny Liu sits down on the edge of Kang. Granny Liu coaxes Ban, hiding behind her, into greeting, but Ban firmly refuses this. Splendid Phoenix King smiles and says: Few visit to each other leads us remote. Someone, knowing this, thinks the reason why you unwillingly visit us is to mind and dislike us. Someone, not knowing this, regarded us arrogance.  Granny Liu explains that our family is poor, no extra money supported us to arrive. Even if we came, it was a disgrace for your family, even your steward.     ——Li Yihao&lt;br /&gt;
&lt;br /&gt;
Ping, standing on the edge of Kang, holds a small tea tray carved patterns that are filled with colourful lacker. And inside the tray, there is a small tea cup. Wang Xifeng, lowering her head and not picking up the tea, only absorbs in toying with the carbon ash inside her hand warmer. And she says indifferently and slowly: “Why do not you invite her to come in? ” As she straightening up to take tea as speaking, Zhou Rui’s wife has brought two people to stand in front of her and until then, she seems to hurriedly stands up. As standing up, she pretends to be cheerful to greet with Granny Liu and complains of Zhou Rui’s wife, saying:“Why don’t you tell me earlier?”Just as Wang Xifeng speaking, Granny Liu greets with her, worshiping several times on bended knees. Wang Xifeng says immediately: “Hurry up to help Liu stand up. I am junior and do not know a lot about  your seniority in the clan, so I dare not call you with an appropriate name. As a result, Zhou Rui’s wife relies quickly: “this is that grandmother I’ve been motioned before.” Wang Xifeng nods and Granny Liu sits down on the edge of Kang. She coaxes Ban-er who hides behind her, into greeting, but Ban-er firmly refuses her. Wang Xifeng smiles and says: “Few visit to each other estranged us. Someone, knowing this, thinks the reason why you unwillingly visit us is to mind and dislike us. Someone, not knowing this, regards us arrogant. ”Granny Liu explains: “We are poor family. There is no extra money to  support us to visit. Even if we came, it was no gift for you madam, even your stewards. ”--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:56, 16 March 2021 (UTC)Liu Tingyang&lt;br /&gt;
&lt;br /&gt;
=Liú Tíngyáng 刘廷阳=&lt;br /&gt;
    凤姐笑道：“这话没的教人恶心，不过借赖着祖父虚名，作个穷官儿罢了，谁&lt;br /&gt;
家有什么？不过是个旧日的空架子。俗语说，‘朝廷还有三门子穷亲’呢，何况&lt;br /&gt;
你我。”说着，又问周瑞家的：“回了太太了没有？”周瑞家的道：“如今等奶奶的&lt;br /&gt;
示下。”凤姐儿道：“你去瞧瞧，要是有人有事就罢；得闲呢就回，看怎么说。”周&lt;br /&gt;
瑞家的答应去了。&lt;br /&gt;
    这里凤姐叫人抓些果子与板儿吃，刚问了几句闲话时，就有家下许多媳妇&lt;br /&gt;
儿管事的来回话。平儿回了，凤姐道：“我这里陪客呢，晚上再来回。若有要紧&lt;br /&gt;
的事，你就带进现办。”平儿出去，一会进来说：“我问了，没什么紧事，我就叫他&lt;br /&gt;
们散了。”凤姐点头。只见周瑞家的回来，向凤姐道：“太太说了：今日不得闲，二&lt;br /&gt;
奶奶陪着便一样的，多谢费心想着。自来逛逛呢便罢；若有甚说的，只管告诉二&lt;br /&gt;
奶奶，都是一样。”刘老老道：“也没甚的说，不过是来睄睄姑太太姑奶奶，也是亲&lt;br /&gt;
戚们情分。”&lt;br /&gt;
&lt;br /&gt;
Xifeng smiled: “It is a severe judgment on us. We’ve only being a poor officer family depending on grandfather’s reputation. What does it amount to? It’s empty in everywhere.As the saying goes, ‘Even the royal has poor relations.’ So please don’t be impersonal.” She turned to Zhou Rui’s wife: “Have you told Her Ladyship?” Zhou Rui’s wife answered: “No, madam. I’m waiting for her replying.” Xifeng said: “ Well, it’s time to have a look. If she has anyone with her, you had better come back; if she don’t, tell her about it and sees what she says. ”Zhou Rui’s wife responded and leaved.&lt;br /&gt;
Then, Xifeng asked her servant to give Ban-er candied fruits. Several domestics and underlings came back to feedback when she Just talked a few with Grannie Liu. Ping-er came in the room, and Xifeng said: “I’m with the guests, so let them inform me later. If something matters, tell me as soon as possible and we deal with it now.” Ping-er went out and soon came back to say that there was no emergency and they had been send away. Xifeng nodded. From then, Zhou Rui’s wife returned and reported: “Her Ladyship said, she doesn’t have free time to come, and it is the same for you to receive them as herself. She says if they come only to visit, she has nothing to add more; but if they have anything to say, they could tell you madam to instead.It’s the same.” Granny Liu said: “ There is nothing to say particularly.I only come to visit Her Ladyship and madam. Just a visit of relations.”          --[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:31, 16 March 2021 (UTC)Liu Tingyang&lt;br /&gt;
&lt;br /&gt;
Xifeng smiled: “It is a severe judgment on us and sounds disgusting. We’ve only been a poor officer family depending on grandfather's reputation. What does it amount to? This household is nothing but an empty husk left over from the past.As the saying goes, ‘Even the royal has poor relatives.’ So please don’t be impersonal.” She turned to Zhou Rui's wife: “Have you told Her Ladyship?” Zhou Rui’s wife answered: “No, madam. I’m waiting for her replying.” Xifeng said: “ Well, it’s time to have a look. If she has anyone with her, you had better come back; if she don’t, tell her about it and listen to what she says. ”Zhou Rui's wife responded and leaved.&lt;br /&gt;
Then, Xifeng asked her servant to give Ban-er candied fruits. Several domestics and underlings came back to feedback when she just talked a few with Grannie Liu. Ping-er came in the room, and Xifeng said: “I’m with the guests, so let them inform me later. If something matters, tell me as soon as possible and we deal with it now.” Ping-er went out and soon came back again to say that there was no emergency and they had been dismissed. Xifeng nodded. From then, Zhou Rui's wife returned and reported: “Her Ladyship said, she doesn’t have free time to come, and it is the same for you to receive them as herself. Thanks for your concern.She says if they come only to visit, she has nothing to add more; but if they have anything to say, they could tell you madam.It’s the same.” Granny Liu said: “ There is nothing to say particularly.I only come to visit Her Ladyship and madam. Just a tie between relatives.”--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 14:09, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Splendid Phoenix King smiled: “It is a severe judgment on us and sounds disgusting. We’ve only been a poor officer family depending on grandfather's reputation. What does it amount to? This household is nothing but an empty husk left over from the past.As the saying goes, ‘Even the royal has poor relatives.’ So please don’t be impersonal.” She turned to Zhou Rui's wife: “Have you told Her Ladyship?” Family Servants of Auspicious Surrounding answered: “No, madam. I’m waiting for her replying.” Splendid Phoenix King said: “ Well, it’s time to have a look. If she has anyone with her, you had better come back; if she don’t, tell her about it and listen to what she says. ”Zhou Rui's wife responded and leaved.&lt;br /&gt;
Then, Splendid Phoenix King asked her servant to give Ban-er candied fruits. Several domestics and underlings came back to feedback when she just talked a few with Grannie Liu. Patience came in the room, and Splendid Phoenix King said: “I’m with the guests, so let them inform me later. If something matters, tell me as soon as possible and we deal with it now.” Patience went out and soon came back again to say that there was no emergency and they had been dismissed. Splendid Phoenix King nodded. From then, Zhou Rui's wife returned and reported: “Her Ladyship said, she doesn’t have free time to come, and it is the same for you to receive them as herself. Thanks for your concern.She says if they come only to visit, she has nothing to add more; but if they have anything to say, they could tell you madam.It’s the same.” Granny Liu said: “ There is nothing to say particularly.I only come to visit Her Ladyship and madam. Just a tie between relatives.”--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 11:40, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Liú Zhuōfán 刘卓凡 Mr.=&lt;br /&gt;
    周瑞家的说道：“没有甚说的便罢；若有话，只管回二奶奶，是和太太&lt;br /&gt;
一样的。”一面说，一面递眼色与刘老老。&lt;br /&gt;
    刘老老会意，未语先飞红的脸，欲待不说，今日又所为何来？只得忍耻道：&lt;br /&gt;
“论理今日初次见姑奶奶，却不该说的；只是大远的奔了你老这里来，少不得说&lt;br /&gt;
了……”刚说到这里，只听二门上小厮们回说：“东府里小大爷进来了。”凤姐忙&lt;br /&gt;
止道：“刘老老不必说了。”一面便问：“你蓉大爷在那里呢？”只听一路靴子脚&lt;br /&gt;
响，进来了一个十七八岁的少年，面目清秀，身材夭娇，轻裘宝带，美服华冠。刘&lt;br /&gt;
老老此时坐不是，立不是，藏没处藏。凤姐笑道：“你只管坐着，这是我侄儿。”刘&lt;br /&gt;
老老方扭扭捏捏在炕沿上坐了。&lt;br /&gt;
    贾蓉笑道：“我父亲打发我来求婶子，说上回老舅太太给婶子的那架玻璃&lt;br /&gt;
炕屏，明日请一个要紧的客，借去略摆一摆就送过来的。”凤姐道：“迟了一日，昨&lt;br /&gt;
儿已给了人了。”&lt;br /&gt;
&lt;br /&gt;
Omen Zhou’s wife said,“ If you have nothing to say, it's alright; but if you do have something to say, telling our second mistress is just the same as telling Madam.” When she was talking, she gave a signal with the eyes to Grandma Liu.&lt;br /&gt;
Grandma Liu got the hint and her face turned red immediately before her speaking. If she didn’t say but just stayed there, then what did she come for today? So, she had to endure her shame and say, “Logically speaking, I should not say that when I first meet you, my madam. But I have covered so far to come here, I just have to say….” At the same time, manservants of the second house replied that the young master of the East mansion came in. Lady Phoenix quickly stopped Grandma Liu from continuing and said that：“You do not have to say.” Then, she asked “where is your Childe Lotus?” Only to hear the sound of the boots all the way, here came a seventeen or eighteen teenager who is very handsome and in an perfect shape with a light fur coat, a precious belt, beautiful clothes and a gorgeous hat. Grandma Liu felt it was not right for her to stand or sit. But she even did not have a place to hide herself. Lady Phoenix laughed and said,” You just sit down. It’s my nephew.” Grandma Liu was affectedly bashful to sit on the edge of the kang.&lt;br /&gt;
Lotus Jia smiled and said, “My father sent me to beg you for the glass screen of the kang which was given by Lady Dowager. Tomorrow he is going to entertain an important guest, we will send it back to you after its displaying. Lady Phoenix said, “It has been given to others and you come late.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Omen Zhou’s wife said,” If you have nothing to say, it's alright; but if you do have something to say, telling our second mistress is just the same as telling Madam.” When she was talking, she gave a signal with her eyes to Grandma Liu. Grandma Liu got the hint and her face turned red immediately before her speaking. If she didn’t say but just stayed there, then what did she come for today? So, she had to endure her shame and say, “Logically speaking, I should not say that when I first met you, my madam. But I have covered so far to come here, I just have to say....” At the same time, manservants of the second house replied that the young master of the East mansion came in. Lady Phoenix quickly stopped Grandma Liu from continuing and said:&amp;quot; You do not have to say.” Then, she asked “where is your Childe Lotus?” Only to hear the sound of the boots all the way, here came a seventeen or eighteen teenager who is very handsome and in a perfect shape with a light fur coat, a precious belt, beautiful clothes and a gorgeous hat. Grandma Liu felt it was not right for her to stand or sit. But she did not even have a place to hide herself. Lady Phoenix laughed and said,” You just sit down. It’s my nephew.” Grandma Liu was affectedly bashful to sit on the edge of the kang. Lotus Jia smiled and said, “My father sent me to beg you for the glass screen of the kang which was given by Lady Dowager. Tomorrow he is going to entertain an important guest, and we will send it back to you after its display. Lady Phoenix said, “It has been given to others and you come late.&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 04:59, 17 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Propitious Zhou’s wife said,“ If you have nothing to say, it's alright; but if you do have something to say, telling our second mistress is just the same as telling Madam.” When she was talking, she gave a signal with the eyes to Grandma Liu.&lt;br /&gt;
Grandma Liu got the hint and her face turned red immediately before her speaking. If she didn’t say but just stayed there, then what did she come for today? So, she had to endure her shame and say, “Logically speaking, I should not say that when I first meet you, my madam. But I have covered so far to come here, I just have to say….” At the same time, manservants of the second house replied that the young master of the East mansion came in. Splendid Phoenix quickly stopped Grandma Liu from continuing and said that：“You do not have to say.” Then, she asked “where is your Childe Lotus?” Only to hear the sound of the boots all the way, here came a seventeen or eighteen teenager who is very handsome and in an perfect shape with a light fur coat, a precious belt, beautiful clothes and a gorgeous hat. Grandma Liu felt it was not right for her to stand or sit. But she even did not have a place to hide herself. Splendid Phoenix laughed and said,” You just sit down. It’s my nephew.” Grandma Liu was affectedly bashful to sit on the edge of the kang.&lt;br /&gt;
Lotus Jia smiled and said, “My father sent me to beg you for the glass screen of the kang which was given by Lady Dowager. Tomorrow he is going to entertain an important guest, we will send it back to you after its displaying. Splendid Phoenix said, “It has been given to others and you come late.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 13:51, 24 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Péng Jiāyù 彭佳钰=&lt;br /&gt;
    贾蓉听说，便嘻嘻的笑着在炕沿子上下个半跪道：“婶子若不&lt;br /&gt;
借，我父亲又说我不会说话了，又挨了一顿好打呢。婶子，只当可怜侄儿罢。”凤&lt;br /&gt;
姐笑道：“也没见我们王家的东西都是好的？你们那里也放着那些好东西，只&lt;br /&gt;
看不见我的东西才罢，一见了就要想拿去。”贾蓉笑道：“只求开恩罢。”凤姐道：&lt;br /&gt;
“碰坏一点，你可仔细你的皮！”因命平儿拿了楼门上钥匙，传几个妥当人来抬&lt;br /&gt;
去。贾蓉喜的眉开眼笑，忙说：“我亲自带了人拿去，别由他们乱碰。”说着便起&lt;br /&gt;
身出去了。&lt;br /&gt;
    这凤姐忽又想起一事来，便向窗外叫：“蓉儿回来。”外面几个人接声说：&lt;br /&gt;
“请蓉大爷快回来。”贾蓉忙转回来，垂手侍立，听何指示。那凤姐只管慢慢地&lt;br /&gt;
吃茶，出了半日神，方笑道“罢了，你且去罢。晚饭后你来再说罢。这会子有&lt;br /&gt;
人，我也没精神了。”贾蓉方慢慢退去。&lt;br /&gt;
    这刘老老身心方安，便说道：“我今日带了你侄儿，不为别的，只因他爹娘&lt;br /&gt;
在家里连吃的也没有，天气又冷了，只得带了你侄儿奔了你老来。”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Jia Rong heard her, so he smiled and half-kneeled on the fire bed and said, &amp;quot;Auntie, if you don't lend me these things, my father will say that I don't know the art of talking again, and I will be beaten. Auntie, take pity on my nephew, please.&amp;quot; Wang Xifeng smiled and said, &amp;quot;Don't you see that all the things our Wang family has are the most precious ones? You also have a lot of good things kept on your own. You just don't usually see the good things I have, as soon as you find mine you may take them away.&amp;quot; Jia Rong smiled and said, &amp;quot;Please be merciful, auntie.&amp;quot; Wang Xifeng said, &amp;quot;If you break anything, you'll be beaten!&amp;quot; So she ordered Ping'er to bring the key to the door of the building and summoned some discreet men to carry the things away. Jia Rong was so happy that he laughed and said, &amp;quot;I'll bring someone over myself to bring it back, don't let them touch it.&amp;quot; He got up and went out while he was saying that.&lt;br /&gt;
&lt;br /&gt;
At this point, Wang Xifeng suddenly remembered something else and called out towards the window, &amp;quot;Come back, Rong'er.&amp;quot; One by one, several people outside said, &amp;quot;Please come back quickly, Master Rong.&amp;quot; Jia Rong hurriedly turned around and came back, standing with his hands on either side of his body, waiting to hear her orders. Wang Xifeng was over there just slowly drinking a cup of tea and in a daze for a while before she smiled and said, &amp;quot;Forget it, you can leave first. Come back to the matter after dinner. I don't have much energy now. By the way, someone else is here.&amp;quot; Only then did Jia Rong slowly retreat and back home.&lt;br /&gt;
&lt;br /&gt;
Over here, Grandma Liu had just settled down when she said, &amp;quot;I brought your nephew here today, not for any other reason, but just because his parents had nothing to eat at home and the weather had turned cold. Thus I had to bring your nephew over to join you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 04:53, 17 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Prosperity Merchant heard her, so he smiled and half-kneeled on the fire bed and said, &amp;quot;Auntie, if you don't lend me these things, my father will say that I don't know the art of talking again, and I will be beaten. Auntie, take pity on my nephew, please.&amp;quot; Splendid Phoenix King smiled and said, &amp;quot;Don't you see that all the things our Wang family has are the most precious ones? You also have a lot of good things kept on your own. You just don't usually see the good things I have, as soon as you find mine you may take them away.&amp;quot; Prosperity Merchant smiled and said, &amp;quot;Please be merciful, auntie.&amp;quot; Splendid Phoenix King said, &amp;quot;If you break anything, you'll be beaten!&amp;quot; So she ordered Ping'er to bring the key to the door of the building and summoned some discreet men to carry the things away. Prosperity Merchant was so happy that he laughed and said, &amp;quot;I'll bring someone over myself to bring it back, don't let them touch it.&amp;quot; He got up and went out while he was saying that.&lt;br /&gt;
At this point, Splendid Phoenix King suddenly remembered something else and called out towards the window, &amp;quot;Come back, Little Prosperity.&amp;quot; One by one, several people outside said, &amp;quot;Please come back quickly, Master Prosperity.&amp;quot; Prosperity Merchant hurriedly turned around and came back, standing with his hands on either side of his body, waiting to hear her orders. Splendid Phoenix King was over there just slowly drinking a cup of tea and in a daze for a while before she smiled and said, &amp;quot;Forget it, you can leave first. Come back to the matter after dinner. I don't have much energy now. By the way, someone else is here.&amp;quot; Only then did Prosperity Merchant slowly retreat and back home.&lt;br /&gt;
Over here, Granny Liu had just settled down when she said, &amp;quot;I brought your nephew here today, not for any other reason, but just because his parents had nothing to eat at home and the weather had turned cold. Thus I had to bring your nephew over to join you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
--[[User:Peng Jiayu|Peng Jiayu]] ([[User talk:Peng Jiayu|talk]]) 07:00, 28 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
So she ordered Ping'er to bring the key to the door of the building and summoned some discreet men to carry the things away. &lt;br /&gt;
Ping'er → Patience&lt;br /&gt;
--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 05:49, 14 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Shū Lín  舒琳=&lt;br /&gt;
    说着，又推板儿道：“你爹在家里怎么教你的？打发咱们来作煞事的？只顾吃果子呢。”凤姐&lt;br /&gt;
早已明白了，听他不会说话，因笑止道：“不必说了，我知道了。”因问周瑞家的&lt;br /&gt;
道：“这老老不知可用了早饭没有呢？”刘老老忙道：“一早就往这里赶咧，那里&lt;br /&gt;
还有吃饭的工夫咧。”凤姐忙命：“快传饭来。”&lt;br /&gt;
    一时周瑞家的传了一桌客馔来，摆在东边屋里，过来带了刘老老和板儿过&lt;br /&gt;
去吃饭，凤姐说道：“周姐姐好生让着些儿，我不能陪了。”于是过东边屋里来，凤&lt;br /&gt;
姐又叫过周瑞家的去道“方才回了太太，说了些什么？”周瑞家的道：“太太说：&lt;br /&gt;
他们原不是一家，是当年他们的祖与老太爷在一处做官，因连了宗的。这几年&lt;br /&gt;
不大走动。当时他们来了，却也从没空过的；今来瞧瞧我们，也是他的好意，不&lt;br /&gt;
可简慢了他。便有什么话说，叫二奶奶裁夺着就是了。”凤姐听了说道：“怪道，&lt;br /&gt;
既是一家子，我如何连影儿也不知道。”&lt;br /&gt;
&lt;br /&gt;
As she said these words， she again pushed Pan Erh forward. &amp;quot;What did your father at home tell you to say？&amp;quot; she asked of him； &amp;quot;and what did he send us over here to do？ Was it only to give our minds to eating fruit？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Lady Feng had long ago understood what she meant to convey， and finding that she had no idea how to express herself in a decent manner， she readily interrupted her with a smile. &amp;quot;You needn't mention anything，&amp;quot; she observed， &amp;quot;I'm well aware of how things stand；&amp;quot; and addressing herself to Mrs. Chou， she inquired， &amp;quot;Has this old lady had breakfast， yes or no？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Old goody Liu hurried to explain. &amp;quot;As soon as it was daylight，&amp;quot; she proceeded， &amp;quot;we started with all speed on our way here， and had we even so much as time to have any breakfast？&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Lady Feng promptly gave orders to send for something to eat. In a short while Chou Jui's wife had called for a table of viands for the guests， which was laid in the room on the eastern side， and then came to take goody Liu and Pan Erh over to have their repast.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;My dear Mrs. Chou，&amp;quot; enjoined lady Feng， &amp;quot;give them all they want， as I can't attend to them myself；&amp;quot; which said， they hastily passed over into the room on the eastern side.&lt;br /&gt;
&lt;br /&gt;
Lady Feng having again called Mrs. Chou， asked her： &amp;quot;When you first informed madame about them， what did she say？&amp;quot; &amp;quot;Our Lady observed，&amp;quot; replied Chou Jui's wife， &amp;quot;that they don't really belong to the same family； that， in former years， their grandfather was an official at the same place as our old master； that hence it came that they joined ancestors； that these few years there hasn't been much intercourse （between their family and ours）； that some years back， whenever they came on a visit， they were never permitted to go empty-handed， and that as their coming on this occasion to see us is also a kind attention on their part， they shouldn't be slighted. If they've anything to say，&amp;quot; （our lady continued）， &amp;quot;tell lady Secunda to do the necessary， and that will be right.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
&amp;quot;There’s no wander！&amp;quot; exclaimed lady Feng， as soon as she had heard the message； &amp;quot;since we are all one family， how is it I'm not familiar even with so much as their shadow？&amp;quot;--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 14:09, 12 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
①As she said these words， she again pushed Pan Erh forward. → As she was talking, she gave Baner a push and said&lt;br /&gt;
②What did your father at home tell you to say？and what did he send us over here to do？ → What did your dad teach you at home? What do we come here for?&lt;br /&gt;
③to give our minds to eating fruit → to give your mind to eating fruits&lt;br /&gt;
④finding that she had no idea → finding that Granny Liu had no idea&lt;br /&gt;
⑤yes or no → （delete）&lt;br /&gt;
⑥had we even so much as time to have any breakfast？ → How could we have time for breakfast?&lt;br /&gt;
⑦When you first informed madame about them → When you informed madame about them just now&lt;br /&gt;
⑧since we are all one family，how is it I'm not familiar even with so much as their shadow？ → If we were a family, how could I have never heard of them！&lt;br /&gt;
--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 05:21, 17 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Sū Xiāo 苏潇=&lt;br /&gt;
说话间，刘老老已吃完了饭，拉了板儿过来，舚唇咂嘴的道谢。凤姐笑道：&lt;br /&gt;
“且请坐下，听我告诉你老人家，方才的意思，我已经知道了。论亲戚之间，原该&lt;br /&gt;
不待上门来就有照应才是；但如今家中事情太多，太太上了年纪，一时想不到是&lt;br /&gt;
有的。况我接着管事，都不大知道这些亲戚们，一则外面看着，虽是烈烈轰轰，&lt;br /&gt;
不知大有大的难处，说与人也未必信呢。今你既大远的来了，又是头一次儿向&lt;br /&gt;
我张口，怎好教你空手回去。可巧昨儿太太给我的丫头们作衣裳的二十两银&lt;br /&gt;
子，还没动呢，你不嫌少，且先拿了去用罢。”&lt;br /&gt;
那刘老老先听见告艰苦，只当是没想头了，又听见给他二十两银子，喜得&lt;br /&gt;
眉开眼笑道：“我们也知艰难的，但只俗语道：‘瘦死的骆驼比马还大些。’凭他&lt;br /&gt;
怎样，你老拔一根寒毛比我们的腰还壮哩！”周瑞家的在旁听见他说的粗鄙，只&lt;br /&gt;
管使眼色止他。凤姐笑而不睬，叫平儿把昨日那包银子拿来，再拿一串钱来，都&lt;br /&gt;
送至刘老老跟前。&lt;br /&gt;
&lt;br /&gt;
Granny Liu had finished her breakfast while talking. She then pulled Ban-er over, clicked the tongue and expressing the thanks. Sister Phoenix smiled and said, “Please sit down. I have something to tell you. I have figured out the reason why you came here. When it comes to relatives, we should take care of each other before you came to visit. But there were so many things going on these days, and our lady, Grandma Merchant, in her old age, coundn’t think about anything at the moment, which is inevitable. Now I am responsible for the whole family, but not familiar with all of our relatives. You may not believe it: it looks so grand outside, but there are still difficulties for being so grand. Now you came far away and asked for help for the first time from me, how could I let you go back empty-handed? What a coincidence that Grandma Merchant gave me two hundred taels of silver yesterday, to make new clothes for our girls. I haven’t used them. If you don’t mind the small amount, take it to solve your problem.” &lt;br /&gt;
Granny Liu was thinking it impossible when Sister Phoenix talked about their difficulties, but suddenly heard that Sister Phoenix would give them two hundred taels of silver. She said with a big smile that: “We know your difficulties. But as the saying goes, a starved camel is bigger than a horse. No matter how, a hair from your body is thicker than our waist.” Family (Servants) of Auspicious Surrounding heard her impolite words, trying to stop her by winking. Sister Phoenix just smiled, not giving a response. She made Patience bring that pack of silver and another string of money,giving them to Granny Liu.--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 16:31, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Granny Liu had finished her breakfast while talking. She then pulled Ban-er over, clicked the tongue and expressing the gratitude. Lady Phoenix smiled and said, “Please sit down. I have something to tell you. I have figured out the reason why you came here. When it comes to relatives, we should take care of each other before you came to visit. But there were so many things going on these days, and our lady, Grandma Merchant, in her old age, coundn’t think about anything at the moment, which is inevitable. Now I am responsible for the whole family, but not familiar with all of our relatives. You may not believe it: it looks so grand outside, but there are still difficulties for being so grand. Now you came far away and asked for help for the first time from me, how could I let you go back empty-handed? What a coincidence that Grandma Merchant gave me two hundred taels of silver yesterday, to make new clothes for our girls. I haven’t used them. If you don’t mind the small amount, take it to solve your problem.” &lt;br /&gt;
Granny Liu was thinking it impossible when Lady Phoenix talked about their difficulties, but suddenly heard that Splendid Phoenix would give them two hundred taels of silver. She said with a big smile that: “We know your difficulties. But as the saying goes, a starved camel is bigger than a horse. No matter how, a hair from your body is thicker than our waist.” Family (Servants) of Auspicious Surrounding heard her impolite words, trying to stop her by winking. Lady Phoenix just smiled but did not response. She made Patience bring that pack of silver and another string of money,giving them to Granny Liu.--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 12:20, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Tāng Huì 汤惠=&lt;br /&gt;
凤姐道：“这是二十两银子，暂且给这孩子们作件冬衣罢。改日无事，只管来逛逛，方是亲戚们的意思。天也晚了，不虚留你们了，到家该问好的都问个好儿。”一面说，一面就站了起来了。刘老老只是千恩万谢的，拿了银钱，随周瑞家的走至外厢。周瑞家的道：“我的娘！你怎么见了他倒不会说了？开口就是‘你侄儿’；我说句不怕你恼的话，便是亲侄儿也要说和软些。那蓉大爷才是他的侄儿呢，他怎么又跑出这样侄儿来了。”刘老老笑道：“我的嫂子！我见了他，心眼儿爱还爱不过来，那里还说上话儿来。”二人说着，又至周瑞家坐了片刻，刘老老要留下一块银与周家的孩子们买果子吃，周瑞家的如何放在服里，执意不肯，刘老老感谢不尽，仍从后门去了。未知刘老老去后如何，且听下回分解。&lt;br /&gt;
    &lt;br /&gt;
◎第七回 送宫花贾琏戏熙凤  宴宁府宝玉会秦钟&lt;br /&gt;
话说周瑞家的送了刘老老去后，便上来回王夫人话，谁知王夫人不在上房，&lt;br /&gt;
问丫鬟们，方知往薛姨妈那边闲话去了。&lt;br /&gt;
She said,“Here are twenty taels to make the child some winter clothes. When you are free the other day, come again as relatives should. It’s getting late, I won’t keep you for nothing. Send my greetings to everyone at home.” She stood up and Granny Liu thanked her profusely, took the silver and cash, followed Family of Auspicious Surrouding to the outside rooms. “Jesus!”said Family of Auspicious Surrouding. “Why don’t you know how to talk when you see her? The first word you said is ‘your nephew’! At the risk of offending you I must say: even if he were a real nephew you should say it in a moderate way. Prosperity Merchant should be her real nephew now— where did she get a nephew like this one?”&lt;br /&gt;
“My dear sister!” Granny Liu beamed, “I could not like her more at the first sight of her, I don’t know what I was saying then.” Chatting together they reached Zhou’s house and sat for a few moments. Granny Liu wanted to leave a piece of silver to buy some fruits for children, while Mrs.Zhou thought nothing of it and refused her. Then with countless thanks Granny Liu left by the back gate. To know what followed, please read the next chapter.&lt;br /&gt;
&lt;br /&gt;
◎Chapter 7 &lt;br /&gt;
Romance Merchant Flirts Lady Phoenix by Sending Palace Flowers&lt;br /&gt;
Precious Jade first meets Clock Qin at a Feast in the Ning Mansion &lt;br /&gt;
&lt;br /&gt;
After seeing off Granny Liu, Family of Auspicious Surrouding went to report to Lady Wang, only to find she was not in the rooms. After asking the maids, Family of Auspicious Surrouding found out that Lady Wang had gone to chat with Lady Xue.&lt;br /&gt;
&lt;br /&gt;
1. When you are free the other day, come again as relatives should.~ as relatives should do&lt;br /&gt;
&lt;br /&gt;
2.“My dear sister!”~“嫂子”should be translated as &amp;quot;sister-in-law&amp;quot;. But maybe to put it &amp;quot;sister&amp;quot; here is show the intimacy and is acceptable&lt;br /&gt;
&lt;br /&gt;
3.&amp;quot;Jesus&amp;quot;~&amp;quot;我的娘&amp;quot; should to translated into &amp;quot;mother dear&amp;quot;, but maybe to put it &amp;quot;Jesus&amp;quot; here helps foreigners better understand the meaning.&lt;br /&gt;
--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 12:29, 15 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Táng Qǐzhōu 唐启洲 Mr.=&lt;br /&gt;
周瑞家的听说，便出东角门，至东院，往梨香院来。刚至院门前，只见王夫人的丫鬟金钏儿和那一个才留了头的小女孩儿站在台矶上玩。见周瑞家的来了，便知有话来回，因向内努嘴儿。&lt;br /&gt;
&lt;br /&gt;
周瑞家的轻轻掀帘进去，只见王夫人和薛姨妈长篇大套的说些家务人情等话，周瑞家的不敢惊动，遂进里间来，只见薛宝钗家常打扮，头上只挽着纂儿，坐在炕里边，伏在小炕几上同丫鬟莺儿正描花样子呢。见他进里来，宝钗便放下笔，转身来，满面堆笑让：“周姐姐坐。”周瑞家的也忙陪笑问道：“姑娘好？”一面炕沿边坐了，因说：“这有两三天也没见姑娘到那边逛逛去，只怕是你宝兄弟冲撞了你不成？”宝钗笑道：“那里的话！只因我那种病又发了两天，所以且静养两日。”周瑞家的道：“正是呢，姑娘到底有什么病根儿？也该趁早请个大夫认真医治。小小的年纪，倒作下个病根，也不是玩的。”宝钗听说笑道：“再不要提起，为这病根，也不知请了多少大夫，吃了多少药，花了多少钱钞，总不见一点效验。&lt;br /&gt;
&lt;br /&gt;
Hearing this, Mrs. Zhou went out through the east side gate and the east courtyard to Pear Fragrance Court. On the steps of the entrance, Jin Chuan, Lady Wang's maid, was playing with the girl whose hair was left to grow. Knowing Mrs. Zhou's arrival was on besiness, she pouted her lips inward.&lt;br /&gt;
&lt;br /&gt;
Mrs. Zhou lifted the curtain up gently and stepped in. Realizing Lady Wang and Aunt Xue were chatting rhetorically about chores and relationships, she did not dare to bother and so went into the inner room where Xue Baochai, whose dress was casual and whose hair was pinned, was sitting beside the fireplace, copying a painting of flowers with her maid Ying'er. Seeing Mrs. Zhou’s coming, Baochai put down the brush and turned to her. &amp;quot;Please take a seat,&amp;quot; she said with her face filled with smile. Sitting along the fireplace, Mrs. Zhou hurriedly took on a smile and said,&amp;quot; How are you, miss? You haven't been visiting our place for several days. Is it because Baoyu annoyed you somehow?&amp;quot; &amp;quot;How come?&amp;quot; Baochai laughed,&amp;quot; It is only because I fell ill again and stayed in bed for two days. &amp;quot; &amp;quot;That's it. What in hell is our miss's disease? They'd better ask for a doctor and cure you carefully. You are still at such a young age, no kidding.&amp;quot; &amp;quot;Don't mention it!&amp;quot; Baochai laughed. &amp;quot;Who knows how many doctors they have hired, how much medicine I have taken, and how much money they have paid, though I never get better.&amp;quot;--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 14:37, 11 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Hearing this, the family servant of Auspicious Surrounding went out through the east side gate and the east courtyard to Pear Fragrance Court.Just arriving in the front of yard, she happened to see that Golden Bracelet, Lady King's maid, was playing with the girl whose hair was left to grow  on the steps of the entrance. Knowing the family servant's arrival was on business, Golden Bracelet pouted her lips inward.&lt;br /&gt;
The family servant of Auspicious Surrounding lifted the curtain up gently and stepped in. Realizing Lady King and Aunt Marshgrass were chatting rhetorically about chores and relationships, she did not dare to bother and so went into the inner room where Precious Hairpin Marshgrass, whose dress was casual and whose hair was pinned, was sitting beside the fireplace, copying a painting of flowers with her maid Oriole. Seeing the family servant had entered the room, Precious Hairpin put down the brush and turned to her. &amp;quot;Please take a seat,&amp;quot; she said with her face filled with smile. Sitting along the fireplace, the family servant hurriedly took on a smile and said,&amp;quot; How are you, miss? You haven't been visiting our place for several days. Is it because Precious Jade annoyed you somehow?&amp;quot; &amp;quot;How come?&amp;quot; Precious Hairpin laughed,&amp;quot; It is only because I fell ill again and stayed in bed for two days. &amp;quot; &amp;quot;That's it. What in hell is our miss's disease? They'd better ask for a doctor to cure you seriously. You are still at such a young age, no kidding.&amp;quot; &amp;quot;Don't mention it!&amp;quot; Precious Hairpin laughed. &amp;quot; To cure the disease， who knows how many doctors they have consulted, how much medicine I have taken, and how much money it have cost, though I never get better.&amp;quot;--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Téng Bìxiá 滕璧霞=&lt;br /&gt;
    后来还亏了一个秃头和尚，专治无名之病，因请他看了，他说我这是从胎&lt;br /&gt;
里带来的一股热毒，幸而我先天结壮，还不相干；若吃凡药，是不中用的。他就&lt;br /&gt;
说了一个海上方，又给了一包末药作引，异香异气的。他说发了时吃一丸就好。&lt;br /&gt;
倒也奇怪，这倒效验些。”&lt;br /&gt;
    周瑞家的因问道：“不知是什么海上方？姑娘说了，我们也好记着，说与人&lt;br /&gt;
知道；倘遇见这样的病，也是行好的事。”宝钗笑道：“不问这方儿还好，若问这&lt;br /&gt;
方，真真把人琐碎坏了。东西药料一概却都有限，易得的，只难得‘可巧’二字：&lt;br /&gt;
要春天开的白牡丹花蕊心十二两，夏天开的白荷花蕊十二两，秋天的白芙蓉蕊&lt;br /&gt;
十二两，冬天的白梅花蕊十二两。将这四样花蕊于次年春分这日晒干，和在末&lt;br /&gt;
药一处，一齐研好；又要雨水这日的天落水十二钱，……”周瑞家的忙笑道；“嗳&lt;br /&gt;
哟！这样说来这就得三年的工夫！倘或雨水这日不下雨，可又怎处呢？”&lt;br /&gt;
Thanks to a bald monk who specialized in curing diseases of namelessness, my parents invited him to diagnose me. He said it was a toxic heat I carried from the womb.Fortunately, I was born strong, so there was no big problem, but it would not work if I took ordinary medicine. Then he provided an overseas prescription, and also gave another pack of powder as a primer which smelt so fragrant. He told me to take just a pill when I got sick. Strangely enough, the prescription somewhat worked. Mrs.Zhou asked: &amp;quot;What overseas prescription is it? You said it so that we can remember it and tell others. If someone encountered such a disease, you would do a good thing. Precious hairpin smiled and said: &amp;quot;you would better not ask this prescription. If you do, you could know how trivial it is. All medicines and ingredients are limited and they are easy-to-obtain. But it’s rare to have everything just right: we need twelve stamens of white peony in spring, twelve stamens of white lotus in summer,  twelve stamens of white hibiscus in autumn, and twelve stamens of white plum stamens in winter. Dry these four stamens on the vernal equinox of the following year and grind them with the powder. And we also need it rains 60g in Rain Water......&amp;quot; Mrs.Zhou laughed and said: &amp;quot;that is to say the process will take three years!  What if it doesn’t rain on Rain Water?--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 11:03, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.Thanks to a bald monk who specialized in curing diseases of namelessness, my parents invited him to diagnose me→We invited a bald monk who specialized in curing unknown diseases to treat me.&lt;br /&gt;
&lt;br /&gt;
2.and also gave another pack of powder as a primer which smelt so fragrant. →and also gave another pack of powder as a guiding drug which smelt so fragrant. &lt;br /&gt;
&lt;br /&gt;
3.You said it so that we can remember it and tell others. If someone encountered such a disease, you would do a good thing→If you tell us, we can share it with others. And once we happen to find someone who suffers from such a disease, we can help. It is a good deed.&lt;br /&gt;
&lt;br /&gt;
4.But it’s rare to have everything just right→But it takes much good luck to get everything ready.&lt;br /&gt;
&lt;br /&gt;
5.that is to say the process will take three years!→that is to say, it will have already taken three years!&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 14:40, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Chǔyí 王楚仪=&lt;br /&gt;
    宝钗笑道：“所以了，那里有这样可巧的雨？也只好再等罢了。还要白露这日的露&lt;br /&gt;
水十二钱，霜降这日的霜十二钱，小雪这日的雪十二钱。把这四样水调匀，和了&lt;br /&gt;
龙眼大的丸子，盛在旧磁坛里，埋在花根底下，若发了病时，拿出来吃一丸，用十&lt;br /&gt;
二分黄柏煎汤送下。”&lt;br /&gt;
    周瑞家的听了，笑道：“阿弥陀佛！真巧死了人。等十年都未必这样巧&lt;br /&gt;
呢。”宝钗道：“竟好。自他说了去后，一二年间，可巧都得了，好容易配成一料，&lt;br /&gt;
如今从南带至北，现埋在梨花树下。”周瑞家的又道：“这药本有名儿没有呢？”&lt;br /&gt;
宝钗道：“有。这也是那癞和尚说下的，叫作‘冷香丸’。”周瑞家的听了点头儿，&lt;br /&gt;
因又说：“这病发了时，到底觉怎样？”宝钗道：“也不觉什么，不过只喘嗽些，吃&lt;br /&gt;
一丸也就罢了。”&lt;br /&gt;
    周瑞家的还要说话时，忽听王夫人问道：“谁在里头？”周瑞家的忙出去答&lt;br /&gt;
应了，便回了刘老老之事，略待半刻，见王夫人无话，方欲退出去，薛姨妈忽又笑&lt;br /&gt;
道：“你且站住。我有一种东西，你带了去罢。”&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Bao Chai smiled and said: &amp;quot;So, What a coincidence it is to get the rain on that day? If not, I have to wait again. We also need sixty grams of the dew on the day of White Dew, sixty grams of the frost on the day of Frost's Descent, sixty grams of the snow on the day of Light Snow. Mix up the four kinds of water, knead them into balls as the size of longan, put them in the old porcelain altar, and bury them under the roots of the flowers. If the disease attacks, take one pill and eat it with the soup made up of six grams of Phellodendron amurense.    &lt;br /&gt;
&lt;br /&gt;
Mrs.Zhou listened and laughed: &amp;quot;Amitabha! What a big coincidence! We may not have such good luck even waiting for ten years .&amp;quot; Bao Chai said: &amp;quot;Luckily, since he said, in a year or two, I had happened to get all the things needed. Finally, I made them into some pills. I carry them from south to north and now they are buried under a pear tree.&amp;quot; Mrs. Zhou said again: &amp;quot;Have this medicine got a name?&amp;quot; Baochai said: &amp;quot;Yes. According to what the monk said, it is called 'A pill with the fragrance of flowers and fruits.&amp;quot; Mrs.Zhou nodded after hearing it, and then said, &amp;quot;How did you feel when you are having the disease?&amp;quot; Baochai said: &amp;quot;Nothing special, just pant and cough. A pill can work.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
When Mrs.Zhou was still talking, she suddenly heard Madam Wang asking: &amp;quot;Who is inside?&amp;quot;  Mrs.Zhou hurriedly went out to tell her about Granny Liu. After a while, she saw that Madam Wang didn’t say anything so she wanted to leave. Lady Xue suddenly smiled and said: &amp;quot;Wait! I have something for you.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
Bao Chai smiled and said: &amp;quot;So, is there such coincident rain? If not, I have to wait again. We also need sixty grams of the dew on the day of White Dew, sixty grams of the frost on the day of Frost's Descent, sixty grams of the snow on the day of Light Snow. Mix up the four kinds of water, knead them into balls as the size of longan, put them in the old porcelain jar, and bury them under the roots of the flowers. If the disease attacks, take one pill and eat it with the soup made up of six grams of Phellodendron amurense.    &lt;br /&gt;
&lt;br /&gt;
Mrs. Zhou listened and laughed: &amp;quot;Amitabha! What a big coincidence! We may not have such good luck even if waiting for ten years .&amp;quot; Bao Chai said: &amp;quot;Luckily, since he said, in a year or two, I had happened to get all the things needed. Finally, I made them into some pills. I carry them from south to north and now they are buried under a pear tree.&amp;quot; Mrs. Zhou said again: &amp;quot;Has this medicine got a name?&amp;quot; Bao Chai said: &amp;quot;Yes. According to what the leper monk said, it is called 'A pill with the fragrance of flowers and fruits.&amp;quot; Mrs. Zhou nodded after hearing it, and then said, &amp;quot;How do you feel when you are having the disease?&amp;quot; Bao Chai said: &amp;quot;Nothing special, just pant and cough. One pill can work.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
When Mrs. Zhou was still talking, she suddenly heard Madam Wang asking: &amp;quot;Who is inside?&amp;quot; Mrs. Zhou hurriedly went out to tell her about Granny Liu. After a while, she saw that Madam Wang didn’t say anything so she was about to leave. Lady Xue suddenly smiled again and said: &amp;quot;Wait! I have something for you.&amp;quot;&lt;br /&gt;
--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 17:03, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Precious Hairpin smiled and said: &amp;quot;So, What a coincidence it is to get the rain on that day? If not, I have to wait again. We also need sixty grams of the dew on the day of White Dew, sixty grams of the frost on the day of Frost's Descent, sixty grams of the snow on the day of Light Snow. Mix up the four kinds of water, knead them into balls as the size of longan, put them in the old porcelain altar, and bury them under the roots of the flowers. If the disease attacks, take one pill and eat it with the soup made up of six grams of Phellodendron amurense.    &lt;br /&gt;
&lt;br /&gt;
Mrs.Auspicious Surrounding listened and laughed: &amp;quot;Amitabha! What a big coincidence! We may not have such good luck even waiting for ten years .&amp;quot; Precious Hairpin said: &amp;quot;Luckily, since he said, in a year or two, I had happened to get all the things needed. Finally, I made them into some pills. I carry them from south to north and now they are buried under a pear tree.&amp;quot; Mrs. Zhou said again: &amp;quot;Have this medicine got a name?&amp;quot; Baochai said: &amp;quot;Yes. According to what the monk said, it is called 'A pill with the fragrance of flowers and fruits.&amp;quot; Mrs.Auspicious Surrounding nodded after hearing it, and then said, &amp;quot;How did you feel when you are having the disease?&amp;quot; Baochai said: &amp;quot;Nothing special, just pant and cough. A pill can work.&amp;quot;&lt;br /&gt;
&lt;br /&gt;
When Mrs.Auspicious Surrounding was still talking, she suddenly heard Lady King asking: &amp;quot;Who is inside?&amp;quot;  Mrs.Auspicious Surrounding hurriedly went out to tell her about Granny Liu. After a while, she saw that Lady King didn’t say anything so she wanted to leave. Aunt Marshgrass suddenly smiled and said: &amp;quot;Wait! I have something for you.&amp;quot;&lt;br /&gt;
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 16:47, 27 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Jìngyí 王静怡=&lt;br /&gt;
    说着便叫：“香菱。”帘栊响处，才&lt;br /&gt;
和金钏儿玩的那个小丫头进来了，问：“奶奶叫我做什么？”薛姨妈道：“把那匣&lt;br /&gt;
子里的花儿拿来。”香菱答应了，向那边捧了个小锦匣儿来。薛姨妈道：“这是&lt;br /&gt;
宫里头作的新鲜花样儿堆纱花，十二枝。昨儿我想起来，白放着可惜旧了，何不&lt;br /&gt;
给他们姊妹们戴去。昨儿要送去，偏又忘了；你今儿来得巧，就带了去罢。你家&lt;br /&gt;
的三位姑娘，每位二枝，下剩六枝，送林姑娘二枝，那四枝给凤姐儿罢。”王夫人&lt;br /&gt;
道：“留着给宝丫头戴也罢了，又想着他们。”薛姨妈道：“姨妈不知，宝丫头古怪&lt;br /&gt;
呢，他从来不爱这些花儿粉儿的。”&lt;br /&gt;
    说着，周瑞家的拿了匣子，走出房门，见金钏儿仍在那里晒日阳，周瑞家的&lt;br /&gt;
因问他道：“那香菱小丫头子，可就是时常说的、临上京时买的、为他打人命官司&lt;br /&gt;
的那个小丫头子？”金钏儿道：“可不就是他。”正说着，只见香菱笑嘻嘻的走来，&lt;br /&gt;
周瑞家的便拉了他的手细细的看了一回，因向金钏儿笑道：“这个模样儿，竟有&lt;br /&gt;
些像咱们的东府里小蓉大奶奶的品格。”&lt;br /&gt;
&lt;br /&gt;
Then she called:” Xiang Ling.” When the bead curtain was rung, the little girl who had just played with Jin Kushiel came, asked:” What did grandma ask me to do?” Aunt Xue said:” Fetch the flowers in that box.” Xiang Ling obeyed and fetched a small brocade box in hands. Aunt Xue said:” These are the fresh fancy yarn flowers from the palace, twelve flowers in total. It occurred to me yesterday that it is pitiful to just lay the flowers there and let them withered. Why not hand out them to the sisters to wear? I should have sent them yesterday, but I forgot. You happened to be here today and just bring them home. Two for each of the three girls in your home and there are still six. Give two to Miss Lin and the other four to Sister Feng.” Madame Wang said:” Just leave them for Miss Xue. There is no need for concerning about those girls. Aunt Xue said:” You may not know that my girl is so eccentric that she does not love these flowers and cosmetics at all.”&lt;br /&gt;
At this time, the servant Zhou Rui had held the box and walked out of the door. Having seeing Jin Kushiel still enjoying the sun, he asked her:” Is that little girl, Xiang Ling, who is constantly referred that she is bought when going downtown and filed a lawsuit related with human life?” Jin Kushiel said:” Of course, that’s her.” Then Xiang Ling walked towards them with big smile and Zhou Rui held her hands and looked at them carefully. After that, he smiled to Jin Kushiel:” Unexpectedly, her style is a little bit similar to the character of Grandma Xiao Rong in our East Mansion.”—[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 17:11, 15 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
Then she called:” Xiang Ling.” When the bead curtain was rung, the little girl who had just played with Jin Kushiel came, and asked:” Madam, what did you ask me to do?” Aunt Xue said:” Fetch the flowers in that box.” Xiang Ling obeyed and fetched a small brocade box in hands. Aunt Xue said:” These are the fresh fancy yarn flowers from the palace, twelve flowers in total. It occurred to me yesterday. It is pitiful to just lay the flowers there and let them withered. Why not hand out them to the sisters to wear? I should have sent them yesterday, but I forgot. You happened to be here today and just take them to home. Two for each of the three girls in your home and there are still six. Give two to Miss Lin and the other four to Sister Feng.” Madame Wang said:” Just leave them for Miss Xue. There is no need for concerning about those girls.” Aunt Xue said:” You may not know that my girl is so eccentric that she has never not loved these flowers and cosmetics.” With this, the servant Zhou Rui had held the box and walked out of the door. Having seeing Jin Kushiel still enjoying the sun, she asked her:” Is that little girl, Xiang Ling, who is constantly referred that she is bought when going downtown and filed a lawsuit related with human life?” Jin Kushiel said:” Of course, that’s her.” Then Xiang Ling walked towards them with big smile and Zhou Rui held her hands and looked at them carefully. After that, she smiled to Jin Kushiel:” Unexpectedly, her style is a little bit similar to the character of generation hostess, Xiao Rong, in our East Mansion.--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 12:55, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Qìnyú 王沁瑜=&lt;br /&gt;
    金钏儿笑道：“我也是这么说呢。”周瑞&lt;br /&gt;
家的又问香菱“你几岁投身到这里？”又问：“你父母今在何处？今年十几岁&lt;br /&gt;
了？本处是那里人？”香菱听问，摇头说：“不记得了。”周瑞家的和金钏儿听了，&lt;br /&gt;
倒反为叹息感伤一回。&lt;br /&gt;
    一时周瑞家的携花至王夫人正房后。原来近日贾母说孙女们太多，一处&lt;br /&gt;
挤着倒不便，只留宝玉、黛玉二人在这边解闷，却将迎春、探春、惜春三人移到王&lt;br /&gt;
夫人这边房后三间抱厦内居住，令李纨陪伴照管。如今周瑞家的故顺路先往这&lt;br /&gt;
里来，只见几个小丫头儿都在抱厦内听呼唤，默坐。迎春丫鬟司棋与探春的丫&lt;br /&gt;
鬟侍书二人，正掀帘子出来，手里都捧着茶盘茶钟，周瑞家的便知他姊妹在一处&lt;br /&gt;
坐着，也进入内房，只见迎春、探春二人正在窗下围棋。周瑞家的将花送上，说&lt;br /&gt;
明原故，他二人忙住了棋，都欠身道谢，命丫鬟们收了。&lt;br /&gt;
Jin Chuaner laughed, “That’s what I said.” Mrs. Zhou asked Xiang Ling again, “How old were you when you came here.” and asked again, “Where are your parents now? How old are you? Where are you from originally?” Hearing the ask, Xiang Ling shook her head and said:” I can’t remember.” After Jin Chuaner and Mrs. Zhou heard it, they signed and felt sad for Xiang Ling.&lt;br /&gt;
A short time later, Mrs. Zhou brought flowers to the back of Lady Wang’s principal room. It turned out that Lady Dowager said that there were too many granddaughters and it was inconvenience for them to squeeze in one place. Only Baoyu and Daiyu were left to relieve the boredom. Yingchun, Tanchun and Xichun were moved to live in three small suites behind Lady Wang’s quarters. Li Wan was ordered to accompany and care for the three girls. So Mrs. Zhou stopped by here now and she saw several girls sitting silently in the small suite and wait to be called. The two people, Yingchun’s servant girl Si Qi and Tanchun’s servant girl Shi Shu, were lifting the curtain out, holding trays and tea-cups. And Mrs. Zhou came to know that sisters were sitting together and she then also entered the inner room. Yingchun and Tanchun were playing chess by the window. Mrs. Zhou offered the flowers to them and made an explanation. Yingchun and Tanchun stopped playing quickly, bowed their thanks and commanded servant girls to take the flowers.&lt;br /&gt;
&lt;br /&gt;
 Jin Chuaner laughed, “That’s what I said.” Mrs. Zhou asked Xiang Ling again, “How old were you when you came here.” and asked again, “Where are your parents now? How old are you? Where are you from originally?” Hearing the ask, Xiang Ling shook her head and said:” I can’t remember.” After Jin Chuaner and Mrs. Zhou heard it, they signed and felt sad for Xiang Ling. A short time later, Mrs. Zhou brought flowers to the back of Lady Wang’s principal room. It turned out that Lady Dowager said that there were too many granddaughters and it was inconvenience for them to squeeze in one place. Only Baoyu and Daiyu were left to relieve the boredom. Yingchun, Tanchun and Xichun were moved to live in three small suites behind Lady Wang’s quarters. Li Wan was ordered to accompany and care for the three girls. So Mrs. Zhou stopped by here now and she saw several girls sitting silently in the small suite and wait to be called. The two people, Yingchun’s servant girl Si Qi and Tanchun’s servant girl Shi Shu, were lifting the curtain out, holding trays and tea-cups. And Mrs. Zhou came to know that sisters were sitting together and she then also entered the inner room. Yingchun and Tanchun were playing chess by the window. Mrs. Zhou offered the flowers to them and made an explanation. Yingchun and Tanchun stopped playing quickly, bowed their thanks and commanded servant girls to take the flowers.--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 12:41, 22 March 2021 (UTC)Wang Zihan&lt;br /&gt;
&lt;br /&gt;
Golden Bracelet laughed, “That’s what I said.” Mrs. Zhou asked Wiselotus Potterymaker again, “How old were you when you came here.” and asked again, “Where are your parents now? How old are you? Where are you from originally?” Hearing the ask, Wiselotus Potterymaker shook her head and said:” I can’t remember.” After Golden Bracelet and Mrs. Zhou heard it, they signed and felt sad for Wiselotus Potterymaker. A short time later, Mrs. Zhou brought flowers to the back of Lady Wang’s principal room. It turned out that Lady Dowager said that there were too many granddaughters and it was inconvenience for them to squeeze in one place. Only Precious Jade and Mascara Jade were left to relieve the boredom. Welcome Spring, Seeking-Spring and Cherishing Spring were moved to live in three small suites behind Lady Wang’s quarters. Li Wan was ordered to accompany and care for the three girls. So Mrs. Zhou stopped by here now and she saw several girls sitting silently in the small suite and wait to be called. The two people, Welcome Spring’s servant girl Chess and Seeking-Spring’s servant girl Book Server, were lifting the curtain out, holding trays and tea-cups. And Mrs. Zhou came to know that sisters were sitting together and she then also entered the inner room. Welcome spring and Seeking-Spring were playing chess by the window. Mrs. Zhou offered the flowers to them and made an explanation. Welcome Spring and Seeking-Spring stopped playing quickly, bowed their thanks and commanded servant girls to take the flowers.&lt;br /&gt;
--[[User:Wang Qinyu|Wang Qinyu]] ([[User talk:Wang Qinyu|talk]]) 05:08, 28 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
金钏儿Golden Bracelet &lt;br /&gt;
周瑞家的Family of Auspicious Surrounding &lt;br /&gt;
香菱Wiselotus Potterymaker &lt;br /&gt;
宝玉Precious Jade&lt;br /&gt;
黛玉Mascara Jade&lt;br /&gt;
迎春Spring Pleasure &lt;br /&gt;
探春Seeking Spring&lt;br /&gt;
惜春Spring cherish&lt;br /&gt;
贾母Grandma Merchant &lt;br /&gt;
王夫人Lady King&lt;br /&gt;
李纨Silk Plum&lt;br /&gt;
司棋Controlling Board &lt;br /&gt;
侍书Book Server &lt;br /&gt;
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 08:46, 9 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵=&lt;br /&gt;
    周瑞家的答应了，因说：“四姑娘不在房里，只怕在老太太那边呢？”丫鬟们&lt;br /&gt;
道：“在那屋里不是？”周瑞家的听了，便往这边屋里来。只见惜春正同水月庵&lt;br /&gt;
的小姑子智能两个一处玩笑，见周瑞家的进来，惜春便问他何事。周瑞家的便&lt;br /&gt;
将花匣打开，说明原故，惜春笑道：“我这里正和智能儿说，我明儿也剃了头同他&lt;br /&gt;
作姑子去，可巧儿又送了花来，若剃了头，却把这花戴在那里？”说着，大家取笑&lt;br /&gt;
一回，惜春命丫鬟入画来收了。&lt;br /&gt;
    周瑞家的因问智能：“你是什么时候来的？你师父那秃歪剌那里去了？”智&lt;br /&gt;
能道：“我们一早就来了。我师父见过太太，就往于老爷府里去了，叫我在这里&lt;br /&gt;
等他呢。”周瑞家的又道：“十五的月例香供银子可得了没有？”智能道：“不知&lt;br /&gt;
道。”惜春听了，便问周瑞家的：“如今各庙月例银子是谁管着？”周瑞家的道：&lt;br /&gt;
“是余信管着。”惜春听了笑道：“这就是了。他师父一来了，余信家的就赶上&lt;br /&gt;
来，和他师父咕唧了半日，想就是为这事了。”&lt;br /&gt;
Mrs. Zhou agreed and said , “The fourth girl isn’t in the room. Is she with the old lady, I wonder?” The maids said, “Isn’t she in that room?” Mrs. Zhou heard and went to this room. She found that Xichun was laughing and chatting with Zhineng, a young nun from the Water Moon Nunnery. Xichun asked Mrs. Zhou her business. The flower box was opened and the gift explained. “I was just telling Zhineng that I’d shave my head some day and become a nun too. But now you send the flowers coincidentally and where shall I wear them if my head is shaved?” Talking and joking, Xichun told her maid Ruhua to put the present away.&lt;br /&gt;
Mrs. Zhou asked Zhineng, “When did you arrive? And where is your bald-headed master?” Zhineng said, “We came early in the morning. After calling on the madam, she went to Mr. Yu’s mansion and told me to wait for her here.” Mrs. Zhou asked, “Have you received the monthly allowance and donation for incense due on the fifteenth?” Zhineng said, “I don’t know.” Then Xichun asked who was in charge of the monthly donation for different temples. Mrs. Zhou replied that it was Yuxin. Xichun giggled, “So that is it. As soon as the master arrived, Mrs. Yu hurried over and whispered with her for a while. That must be why.”&lt;br /&gt;
&lt;br /&gt;
Mrs. Zhou agreed and said , “The fourth girl isn’t in the room. Is she with the old lady?” The maids said, “Isn’t she in that room?” Mrs. Zhou heard and went to this room. She found that Xi Chun was laughing and chatting with Zhi Neng, a young nun from the Water Moon Nunnery. Xi Chun asked Mrs. Zhou what she’s doing here. Zhou opened the flower box and replied. “I was just telling Zhi Neng that I’d shave my head some day and become a nun too. But now you send the flowers coincidentally and where shall I wear them if my head is shaved?” Talking and joking, Xi Chun told her maid Ru Hua to put the box away.&lt;br /&gt;
Mrs. Zhou asked Zhi Neng, “When did you arrive? And where is your bald-headed master?” Zhi Neng said, “We came early in the morning. After calling on the madam, she went to Mr. Yu’s mansion and told me to wait for her here.” Mrs. Zhou asked, “Have you received the monthly allowance and donation for incense due on the fifteenth?” Zhi Neng said, “I don’t know.” Then Xi Chun asked, “who was in charge of the monthly donation for different temples?” Mrs. Zhou replied, “it was Yu Xin”. Xi Chun giggled, “So that is it. That may be why Mrs. Yu hurried over and whispered with the master for a long time as soon as she arrived.”—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 12:03, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪=&lt;br /&gt;
    那周瑞家的又和智能儿唠叨了一回，便往凤姐处来，穿夹道，从李纨后窗&lt;br /&gt;
下越过西花墙，出西角门，进入凤姐院中。走至堂屋，只见小丫头丰儿坐在凤姐&lt;br /&gt;
的房门槛上，见周瑞家的来了，连忙摆手儿，叫他往东屋里去，周瑞家的会意，忙&lt;br /&gt;
的蹑手蹑脚的往东边屋里来，只见奶子拍着大姐儿睡觉呢。周瑞家的悄问奶&lt;br /&gt;
子：“姐儿睡中觉呢？也该请醒了。”奶子摇头儿。正问着，只听那边一阵笑声，&lt;br /&gt;
却有贾琏的声音。接着房门响处，平儿拿着大铜盆出来，叫丰儿舀水进去。&lt;br /&gt;
    平儿便进这边来，一见了周瑞家的，便问：“你老人家又来作什么？”周瑞家&lt;br /&gt;
的忙起身拿匣子给他说：“送花来。”平儿听了，便打开匣子，拿了四枝，转身去&lt;br /&gt;
了；半刻工夫，手里拿出两枝来，先叫彩明来，吩咐他：“送到那边府里，给小蓉大&lt;br /&gt;
奶奶戴。”次后方命周瑞家的回去道谢。&lt;br /&gt;
    周瑞家的这才往贾母这边来，过了穿堂，顶头忽见他的女儿，打扮着才从&lt;br /&gt;
他婆家来。&lt;br /&gt;
Mrs.Zhou and Sapiential chatted for a while, then Mrs.Zhou went to Sister Phoenix’s house. She crossed the narrow lane, went pass the West Flower wall behind Li Wan’s window and through the West Side gate, and finally arrived Sister Phoenix’s yard. After walking up to the main room, Mrs.Zhou saw Felicity, the servant girl, sitting on the threshold of the room. On seeing Mrs.Zhou, Felicity waved at her immediately and told her to go to the east room. Mrs.Zhou understood and quickly crept to there, in the room the wet nurse was patting the eldest girl of Wang to sleep. Mrs.Zhou whispered to the nurse, “Is the girl still sleeping? It’s time for her to wake up.” But the nurse shook her head. When asking, Mrs.Zhou heard a burst of laughter and Jia Lian’s voice from the other side. Then Patience holding a big cropper pot, went out of the room where laughter came and asked Felicity to ladle some water into it.&lt;br /&gt;
Later, Patience went towards the room Mrs.Zhou was in. On seeing her, she asked, “What are you doing here?” Mrs.Zhou stood up instantly and gave her a box, “I am here to send flowers.” Hearing this, Patience opened the box, took four of them and turned away. After about seven minutes, she went back with two flowers in hands. Then she summoned Sunshine  and ordered, “ Send them to that house and give them to lady Xiao Rong.” After that, she required Zhou to send her thanks back.&lt;br /&gt;
Mrs.Zhou went to Granny Merchant’s house. She passed the hallway and came across the her daughter dressing like she’s from her husband’s family.&lt;br /&gt;
&lt;br /&gt;
Mercy Rui Zhou and Sapiential chatted for a while, then Mercy Rui Zhou went to Sister Phoenix’s house. She crossed the narrow lane, went pass the West Flower wall behind Silk Li’s window and through the West Side gate, and finally arrived Sister Phoenix’s yard. After walking up to the main room, Mercy Rui Zhou saw abundance, the servant girl, sitting on the threshold of the room. On seeing Mercy Rui Zhou , Abundance waved at her immediately and told her to go to the east room. Mercy Rui Zhou understood and quickly crept to there, in the room the wet nurse was patting the eldest girl of Wang to sleep. Mercy Rui Zhou whispered to the nurse, “Is the girl still sleeping? It’s time for her to wake up.” But the nurse shook her head. When asking, Mercy Rui Zhou heard a burst of laughter and Fake Romance’s voice from the other side. Then Patience holding a big cropper pot, went out of the room where laughter came and asked Abundance to ladle some water into it. Later, Patience went towards the room Mercy Rui Zhou was in. On seeing her, she asked, “What are you doing here?” Mercy Rui Zhou stood up instantly and gave her a box, “I am here to send flowers.” Hearing this, Patience opened the box, took four of them and turned away. After about seven minutes, she went back with two flowers in hands. Then she summoned Colorful Light and ordered, “ Send them to that house and give them to False Prosperity.” After that, she required Mercy Rui Zhou to send her thanks back. Mercy Rui Zhou went to Granny Merchant’s house. She passed the hallway and came across the her daughter dressing like she’s from her husband’s family.—[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 08:15, 25 April 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1.Mrs.Zhou and Sapiential chatted for a while, then Mrs.Zhou went to Sister Phoenix’s house.→Mrs.Zhou and Sapiential chatted for a while, then Mrs.Zhou went to Sister Phoenix’s room.&lt;br /&gt;
&lt;br /&gt;
2.Then Patience holding a big cropper pot, went out of the room where laughter came and asked Abundance to ladle some water into it. →Then Patience went out of the room where laughter came with a big cropper pot, and asked Abundance to ladle some water into it. --[[User:Wu Xinxin|Wu Xinxin]] ([[User talk:Wu Xinxin|talk]]) 05:17, 16 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Wú Xīnxīn 吴欣欣=&lt;br /&gt;
    周瑞家的忙问：“你这会子跑来作什么？”&lt;br /&gt;
他女孩儿说：“妈一向身上好？我在家里等了这半日，妈竟不出去，什么事情这样忙的不回家？我等烦了，&lt;br /&gt;
自己先到了老太太跟前请了安了，这会子请太太安去。妈还有什么不了的差&lt;br /&gt;
事？手里是什么东西？”周瑞家的笑道：“嗳！今儿偏生来了个刘老老，我自己&lt;br /&gt;
多事，为他跑了半日；这会子被姨太太看见了，叫送这几枝花儿与姑娘奶奶们，&lt;br /&gt;
这会子还没送完呢。你这会子来，一定有什么事情的。”他女孩儿笑道：“你老&lt;br /&gt;
人家倒会猜着！实对你老人家说：你女婿因前儿多吃了几杯酒，和人分争起来，&lt;br /&gt;
不知怎的被人放了一把邪火，说他来历不明，告到衙门里，要递解还乡。所以我&lt;br /&gt;
来和你老人家商议商议，这个情分，求那一个可了事？”周瑞家的听了道：“我就&lt;br /&gt;
知道的。这有什么大不了的！你且家去等我，我送这林姑娘的花儿去了，就回&lt;br /&gt;
家来。此时太太二奶奶都不得闲儿，你回去等我，这有什么忙的？”他女孩儿听&lt;br /&gt;
说，便回去了，还说：“妈，好歹快来。”&lt;br /&gt;
&lt;br /&gt;
&amp;quot;Why are you here? &amp;quot; promptly inquired Mrs. Chou.&lt;br /&gt;
&amp;quot;How are you doing, mother？&amp;quot; asked her daughter. &amp;quot;I've been waiting for a long time, but you never come out. What keeps you too busy to go home? I waited till I was tired so that I went on alone and paid my respects to our venerable lady; I'm now, on my way to visit our lady Wang. Is there anything else you haven't done yet? What are you holding in your hand?&lt;br /&gt;
&amp;quot;Granny Liu came over today. I am willing to accompany her for a walk.” rejoined Chou’s wife smilingly, “While attending to these, Mrs. Hsueh came across me, and asked me to take these flowers to the young ladies， and I've been at it up to this very moment, and haven't done yet! But coming at this time, you must have something to tell me! what's it?&amp;quot;&lt;br /&gt;
“You're quick at guessing!” exclaimed her daughter with a smile; “I'll tell you what it's all about. The day before yesterday, your son-in-law drank too much, and began altercating with some person or other; and some one， I don't know why, spread some evil report, saying that his antecedents were not clear, and lodged a charge against him at the Yamen, pressing the authorities to deport him to his native place. That's why I've come over to consult with you, as to whom we should appeal to, to do us this favor of helping us out of our dilemma！&amp;quot;&lt;br /&gt;
“I know.” Mrs. Chou remarked after listening, “It's no big deal. Go home and wait for me and I'll come straightway as soon as I've taken these flowers to Miss Lin; our madame Wang and lady Second have both no leisure to attend to you now, so go back and wait for me! What's the hurry?” Her daughter, upon hearing this, forthwith turned round to go back, when she added as she walked away, “Mom, hurry up!”&lt;br /&gt;
&lt;br /&gt;
=Yāo Yáng 么阳=&lt;br /&gt;
    周瑞家的道：“小人儿家没经过什么事的，就急得这样的。”说着，便到黛玉房中去了。&lt;br /&gt;
    谁知此时黛玉不在自己房里，却在宝玉房中，大家解九连环作戏。周瑞家&lt;br /&gt;
的进来，笑道：“林姑娘，姨太太着我送花来与姑娘戴。”宝玉听说，便说：“什么&lt;br /&gt;
花？拿来与我看。”一面便伸手接过来了，开匣看时，原来是两枝宫制堆纱新巧&lt;br /&gt;
的假花，黛玉只就宝玉手中看了一看，便问道：“还是单送我一人，还是别的姑娘&lt;br /&gt;
们都有的？”周瑞家的道：“各位都有了，这两枝是姑娘的了。”黛玉冷笑道：“我&lt;br /&gt;
就知道，别人不挑剩下的也不给我。”周瑞家的听了，一声儿不言语。宝玉问道：&lt;br /&gt;
“周姐姐，你作什么到那边去了？”周瑞家的因说：“太太在那里，我回话去了，姨&lt;br /&gt;
太太就顺便叫我带来的。”宝玉道：“宝姐姐在家里作什么呢？怎么这几日也不&lt;br /&gt;
过来？”周瑞家的道：“身上不大好呢。”宝玉听了，便和丫头们说：“谁去瞧瞧，就&lt;br /&gt;
说我和林姑娘打发来问姨娘姐姐安，问姐姐是什么病，吃什么药。论理，我该亲&lt;br /&gt;
自来的，就说才从学里回来，也着了些凉，改日再亲来。”说着，茜雪便答应去了。&lt;br /&gt;
周瑞家的自去，无话。&lt;br /&gt;
Zhou Rui's wife says: &amp;quot;Coming from a small family and experiencing a few, she is easy to be too worried.&amp;quot;Then she came into Daiyu's room. Daiyu isn't there, but in Baoyu's room.They are having fun with Nine Interlocking(a puzzle game).Zhou Rui's wife enters with a smile and says:“Miss Lin. your aunt order me to sent flowers for you to wear.”As hearing these words, Baoyu says:&amp;quot; What flowers? Let me have a look.&amp;quot; He get the box, finding there are two fake gauze flowers made by royal craftsmen,Daiyu has a gl&lt;br /&gt;
ance with the flowers in his hands, asking that they are exclusively sent to her or other girls have the same treatment. Zhou Rui's wife said:&amp;quot; Other ladies have already gotten their flowers, so the last two would be hers.&amp;quot; Daiyu sneers:“I should have known that I only deserves the remains left by others..”Zhou Rui's wife silent. Bao Yu inquires her why she went to that yard and she explains；“Ms. Wang being there, I was to reply to her.She ,by the way, commend me to bring flowers to Miss Lin.”Baoyu says:“What is Sis. Bao doing these days? She did't come here recently.” Zhou Rui's wife says:“She is not comfortable.”After that,Bao Yu talks with the servant girls:&amp;quot; Anyone of you goes to visit Sister Bao and bring our regards to them, ask which kind of illness she is suffering and what pills she needs. In principle, I should do it by myself, you just find an excuse for me that I just returned from the school and I were having a cold. I'll come another day.&amp;quot; Qian Xue receives his order to do so. Zhou Rui's wife leaves by herself, with no more word.&lt;br /&gt;
&lt;br /&gt;
Zhou Rui's wife said: &amp;quot; Not experiencing as from the downtown, she may be very worried.&amp;quot; Then she went into Dai Yu's room. Dai Yu wasn't there, but in Bao Yu's room. They were having fun in Nine Interlocking (a puzzle game). Zhou Rui's wife entered with a smile and said, “Miss Lin, your aunt asked me to deliver flowers for you to wear.” After hearing it, Bao Yu said, &amp;quot; What kind of flowers? Let me have a look.&amp;quot; He got the box and found two fancy royal fake gauze flowers. Dai Yu only had a glance at the flowers while they were in Bao Yu’s hands, and questioned whether they were exclusively sent to her or other girls also had the same treatment. Zhou Rui's wife said:&amp;quot; Other ladies have already gotten their flowers, so the last two are yours.&amp;quot; Dai Yu sneered, “I should have known that I only deserve the things left by others.” Zhou Rui's wife was silent. Bao Yu inquired her why she went to that yard and she explained；“Ms. Wang being there, I went to give a reply to her. So, she commended me to give these flowers to Miss Lin.” Bao Yu said, “What is Sis. Bao doing these days at home? She didn’t visit here recently.” Zhou Rui's wife said, “She is ill.” After that, Bao Yu talked with the servants, &amp;quot; One of you should visit Sister Bao, give greeting to her on behalf of us, ask what she is suffering and what pills she needs. Actually, I should do it by myself. But you just need to find an excuse for me such as I just returned from the school and I have a cold. I'll pay a visit another day.&amp;quot; Qian Xue listened to his order. Zhou Rui's wife left by herself, not saying anything else.----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
Auspicious Surrounding's wife says: &amp;quot;Coming from a small family and experiencing a few, she is easy to be too worried.&amp;quot;Then she came into Daiyu's room. Daiyu isn't there, but in Precious Jade's room.They are having fun with Nine Interlocking(a puzzle game).Auspicious Surrounding's wife enters with a smile and says:“Miss Lin. your aunt order me to sent flowers for you to wear.”As hearing these words, Precious Jade says:&amp;quot; What flowers? Let me have a look.&amp;quot; He get the box, finding there are two fake gauze flowers made by royal craftsmen,Daiyu has a gl&lt;br /&gt;
ance with the flowers in his hands, asking that they are exclusively sent to her or other girls have the same treatment. Auspicious Surrounding's wife said:&amp;quot; Other ladies have already gotten their flowers, so the last two would be hers.&amp;quot; Daiyu sneers:“I should have known that I only deserves the remains left by others..”Auspicious Surrounding's wife silent. Precious Jade inquires her why she went to that yard and she explains；“Mrs. King being there, I was to reply to her.She ,by the way, commend me to bring flowers to Miss Lin.”Precious Jade says:“What is Sis. Precious doing these days? She did't come here recently.” Auspicious Surrounding's wife says:“She is not comfortable.”After that,Precious Jade talks with the servant girls:&amp;quot; Anyone of you goes to visit Sister Precious and bring our regards to them, ask which kind of illness she is suffering and what pills she needs. In principle, I should do it by myself, you just find an excuse for me that I just returned from the school and I were having a cold. I'll come another day.&amp;quot;  Snow Alizarin receives his order to do so.Auspicious Surrounding 's wife leaves by herself, with no more word.&lt;br /&gt;
&lt;br /&gt;
=Yì Míngxiá  易明霞=&lt;br /&gt;
    原来周瑞家的女婿便是雨村的好友冷子兴，近日因卖古董，和人打官司，&lt;br /&gt;
故叫女人来讨情分。周瑞家的仗着主子的势，把这些事也不放在心上，晚间只&lt;br /&gt;
求求凤姐儿便完了。&lt;br /&gt;
    至掌灯时，凤姐已卸了妆，来见王夫人，回说：“今儿甄家送来的东西，我已&lt;br /&gt;
收了；咱们送他的，趁着他家有年下送鲜的船，交绐他带了去了。”王夫人点点&lt;br /&gt;
头。凤姐又道：“临安伯老太太生日的礼已经打点了，太太派谁送去？”王夫人&lt;br /&gt;
道：“你瞧谁闲着，叫四个女人去就完了，又来问我。”凤姐又道：“今日珍大嫂子&lt;br /&gt;
来请我明日去逛逛，明日有没有什么事？”王夫人道：“有事没事，都害不着什么。&lt;br /&gt;
每常他来请，有我们，你自然不便；他既不请我们单请你，可知是他诚心叫你散&lt;br /&gt;
淡散淡，别辜负了他的心，倒该过去走走才是。”凤姐答应了。当下李纨迎探等&lt;br /&gt;
姊妹们亦各定省毕，各归房，无话。&lt;br /&gt;
Zhou Rui’s son-in-law turned out to be Len Zixing--the friend of Yu Cun(Rain village). He was engaged in a lawsuit because of selling antiques, so he asked his wife to come to ask for help. With the master’s power and wealth, Zhou Rui’s family didn’t care about the case very much, and only turned to Sister Feng for some help later on.&lt;br /&gt;
By the time of lighting a lamp, Sister Feng had already taken her make up off and visited Mrs. Wang, and said: “Today I received the gifts given by the Zhen family. Then, I gave our presents to him and let him to take these back by himself, as there were seafood-delivering ships with him.” Mrs. Wang nodded her approvement. Again, Sister Feng said, “The birthday gifts for the dowager—Mrs. Bo in Lin An, were prepared. So, whom would you prefer to deliver the gifts?” Mrs. Wang replied, “Whoever is idle shall do it. You may just select four women to do the task rather than ask me again.” Then, Sister Feng said again, “Today, Mrs. Zhen (the sister-in-law) came to invite me to go out tomorrow. So, is there anything that I need to deal with tomorrow?” Mrs. Wang said, “It does not matter. When she invites you, you are certainly not convenient to have us around. Inviting you only, she sincerely wants to form a better relationship with you. So, do not let her down. You are supposed to pay a visit.” Sister Feng agreed. At that time, the sisters—Li Zhi, Li Ying and Li Tang and so on, finished their greetings and came back respectively without any talking.&lt;br /&gt;
&lt;br /&gt;
Auspicious Surrounding’s son-in-law turned out to be Leng Zixing--the friend of Rainvillage Merchant. Finding himself engaged in a lawsuit arising from selling antiques, he sent his wife to ask for help. With confidence in her master’s power and wealth, Mrs.Zhou didn’t take this to heart, and only applied to Splendid Phoenix King to settle the matter. When the lamps were lit and Splendid Phoenix had disrobed, she visited Lady King. “I have taken charge of those things the Zhens sent today,”she announced, “As for our presents to them, I have sent them back by their boats which have come for the New Year provision.”When Mrs. Wang nodded, Xifeng went on, “The birthday gifts for the dowager—Mrs. Bo in Lin An, have been prepared. Who should deliver them, madam?” Mrs. Wang replied, “Any four women you see are free. Why consult me about such trifles?” With a smile Splendid Phoenix said, “Today, Madam Outstanding (the sister-in-law) came to invite me to spend tomorrow with them. I haven’t anything special to do that I know of.” Lady Wang said, “Even if you had, it wouldn’t matter. She usually ask us all, which can’t be much fun for you. Since she Invited you only, she obviously wants you to have a little fun, so don’t disappoint her. Even if you had business you ought to go.”  Splendid Phoenix had just agreed when Silk Pulm, Spring Pleasure, Seeking-Spring and the other girls came in to say goodnight, after which all retired to their own rooms.--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 09:44, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Auspicious Surrounding’s son-in-law turned out to be Len Zixing--the friend of Yu Cun(Rain village). He was engaged in a lawsuit because of selling antiques, so he asked his wife to come to ask for help. With the master’s power and wealth, Auspicious Surrounding’s family didn’t care about the case very much, and only turned to Sister Feng for some help later on. By the time of lighting a lamp, Sister Feng had already taken her make up off and visited Mrs. Wang, and said: “Today I received the gifts given by the Zhen family. Then, I gave our presents to him and let him to take these back by himself, as there were seafood-delivering ships with him.” Mrs. Wang nodded her approvement. Again, Sister Feng said, “The birthday gifts for the dowager—Mrs. Bo in Lin An, were prepared. So, whom would you prefer to deliver the gifts?” Mrs. Wang replied, “Whoever is idle shall do it. You may just select four women to do the task rather than ask me again.” Then, Sister Feng said again, “Today, Mrs. Zhen (the sister-in-law) came to invite me to go out tomorrow. So, is there anything that I need to deal with tomorrow?” Mrs. Wang said, “It does not matter. When she invites you, you are certainly not convenient to have us around. Inviting you only, she sincerely wants to form a better relationship with you. So, do not let her down. You are supposed to pay a visit.” Sister Feng agreed. At that time, the sisters—Silk Plum, Li Ying and Li Tang and so on, finished their greetings and came back respectively without any talking.----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静=&lt;br /&gt;
    次日凤姐梳洗了，先回王夫人毕，方来辞贾母。宝玉听了，也要逛去，凤姐&lt;br /&gt;
只得答应着，立等换了衣裳，姐儿两个坐了车，一时进入宁府；早有贾珍之妻尤&lt;br /&gt;
氏与贾蓉之妻秦氏，婆媳两个引了多少侍妾丫鬟等接出仪门。&lt;br /&gt;
    那尤氏一见了凤姐，必先嘲笑一阵，一手携了宝玉，同人上房来归坐，秦氏&lt;br /&gt;
献茶毕，凤姐便说：“你们请我来作什么？拿什么东西来孝敬，就献上来，我还有&lt;br /&gt;
事呢。”尤氏秦氏未及答应，几个媳妇们先笑道：“二奶奶，今日不来就罢，既来&lt;br /&gt;
了，就依不得二奶奶了。”正说着，只见贾蓉进来请安，宝玉因问：“大哥哥今日不&lt;br /&gt;
在家么？”尤氏道：“今日出城请老爷爷安去了。”又道：“可是你怪闷的坐在这&lt;br /&gt;
里，何不出去逛逛？”&lt;br /&gt;
    秦氏笑道：“今日可巧，上回宝叔要见我兄弟，今儿也在这里，想在书房里，&lt;br /&gt;
宝叔何不去瞧一瞧？”宝玉即下炕要走，尤氏便吩咐人：“小心跟着，别委曲着他，&lt;br /&gt;
倒比不得跟着老太太过来就罢了。”&lt;br /&gt;
The next day Phoenix King got up to wash her face and comb her hair. At first she went to tell Lady Wang that she was off. Then she went to the Dosages Lady Jia. And when hearing where she was going, Precious Jade insisting on going with her. Phoenix King had to agree and wait until he had changed his clothes. Then the two of them drove quickly to the Ning Mansion. Cousin Zhen’s wife Madam You and ’s wife Qin Frivolity had gathered a troop of concubines and maids to greet them at the ceremonial gate. Having greeted Phoenix King in her usual teasing fashion, Madam You led Precious Jade to a seat in the drawing room. After Keqing had served tea, Phoenix King asked, “Well, what did you invite me for today? If you have something for me, hand it over quickly. I have other things to deal with.” Before Madam You and Qin Frivolity could reply, the concubines smiled and retorted, “In that case you should not have come. Now that you are here, you can not have it all your own way.” False Prosperity entered then to pay his respects, and Precious Jade asked if Cousin Zhen was at home. “He has gone out of town to inquire his father’s health,” said Madam You. “But you must find it dull siting here. Why not go out for a stroll?” “As it happens,” said Qin Frivolity, “my brother whom Precious Jade was eager to meet last time is here today. He’s probably in the library. Why don’t you go and have a look?” But as Precious Jade slipped down from the Kang, Madam You and Phoenix King interposed, “Steady on. What’s the hurry?” They ordered some maids to go with him. “Don’t let him get into any trouble,” they warned, “The old lady is not here to keep an eye on him today.”--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 09:29, 14 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
The next day, after Xifeng's washing and dressing, she greeted Ledy Wang and then bade farewell with Grandmother Jia. Baoyu heard about this and would like to follow her.  The only thing that Xifeng could do was to promise to go with him. With the clothes changed, they toke a carriage and moved to Ning ’s Mansion. Jia Zhen’s wife Madam You and Jia Rong’s wife Qin Keqing had gathered a troop of concubines and maids to greet them at the ceremonial gate. Having greeted Xifeng in her usual teasing fashion, Madam You led Baoyu to a seat in the drawing room. After Madam Qin had served tea, Xifeng asked, “Well, why did you invite me here today? If you have something for me, hand it over quickly. I have something else to deal with.” Before Madam You and Madam Qing could reply, the concubines smiled and retorted, “In that case you should not have come. Now that you are here, you can not have it all your own way.” Jia Rong entered then to pay his respects, and Baoyu asked if Jia Zhen was at home. “He has gone out of town to pay his respects to his father,” said Madam You. “But you must find it dull siting here. Why not go out for a stroll?” “As it happens,” said Madam Qing, “My brother whom Baoyu was eager to meet last time is here today. He’s probably in the library. Why don’t you go and have a look?” But as Baoyu slipped down from the Kang, Madam You and Xifeng interposed, “Steady on. What’s the hurry?” They ordered some maids to go with him. “Don’t let him get into any trouble,” they warned, “The old lady is not here to keep an eye on him today.”--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 12:15, 16 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Mr.=&lt;br /&gt;
凤姐道：“既这么着，何不请进这小爷来，我也见见，难道我是见不得他的？”&lt;br /&gt;
尤氏笑道：“罢，罢！可以不必见他。比不得咱家的孩子们，胡打海摔跌惯了的。&lt;br /&gt;
人家的孩子，都是斯斯文文惯了的，不像你这样泼辣货形象，倒要被你笑话死了呢。”&lt;br /&gt;
凤姐笑道：“我不笑话就罢，竟叫快领去。”&lt;br /&gt;
贾蓉道：“他生得腼腆，没见过大阵仗儿，婶子见了，没得生气。”凤姐啐道：&lt;br /&gt;
“他是‘哪吒’，我也要见一见。别放你娘的屁了。再不带来给你一顿好嘴巴&lt;br /&gt;
子！”贾蓉笑道：“我不敢强，就带他来。”一会子，果然带了一个小后生来，较宝&lt;br /&gt;
玉略瘦些，眉清目秀，粉面朱唇，身材俊俏，举止风流，似在宝玉之上；只是怯怯&lt;br /&gt;
羞羞有女儿之态，腼腆含糊的向凤姐作揖问好，凤姐喜的先推宝玉笑道：“比下&lt;br /&gt;
去了！”便探身一把携了这孩子的手，就命他身边坐下，慢慢问他年纪读书等事，&lt;br /&gt;
方知他学名叫秦钟。&lt;br /&gt;
早有凤姐跟的丫鬟媳妇们，看见凤姐初见秦钟，并未备得表礼来，遂忙过&lt;br /&gt;
那边去告诉平儿。&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
 &amp;quot;In this case, why not invite him to visit me?&amp;quot; Mrs Feng said, &amp;quot;Or is it wrong for me to meet him?&amp;quot; Madam You laughed, &lt;br /&gt;
&amp;quot;Well, well, it is not necessary. He is nothing to my children who are used to bumps and grazes. Those who act gentle &lt;br /&gt;
are children of other families, while you are such a ferocious woman. I will be laughed at. &amp;quot; Mrs Feng said, &amp;quot;It would be &lt;br /&gt;
fine if I do not laugh. Go and lead him here. &amp;quot; Jia Rong said, &amp;quot;He is green and inexperienced, who has an undemonstrative&lt;br /&gt;
 appearance.I am afraid that you will not feel vigorous.&amp;quot; Mrs Feng spat some words, &amp;quot;I will meet him even if he is Nazha. &lt;br /&gt;
Stop speaking nonsenses! Bring him here or getting a slap on the face.&amp;quot; Jia Rong said, &amp;quot;Of course I do not flaunt my &lt;br /&gt;
superiority. I will bring him here soon.&amp;quot; A few minutes latter, she came with a little boy who was a little thinner than Baoyu,&lt;br /&gt;
 with comely eyebrows, pretty eyes, a pink face, red lips and a perfect stature, which made him a sense of Baoyu but &lt;br /&gt;
even better. He was shy and acted like a female. After his coy greeting of bow to Mrs Feng,  she pushed Baoyu with joy&lt;br /&gt;
 and said, &amp;quot;He looks better!&amp;quot; Then she stretched forward to grasp the boy's hand and let him sit by her, asking him things &lt;br /&gt;
such as age and study. Then she finally got his name, Qin Zhong. Those who already knew Mrs Feng very well seeing that &lt;br /&gt;
she did not act with correct etiquettes at the first meeting with Qin Zhong, rushed to tell Miss Ping about this.&lt;br /&gt;
--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 02:40, 12 March 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&amp;quot;In this case, why not invite him to visit me?&amp;quot; Sister Phoenix said, &amp;quot;Or is it wrong for me to meet him?&amp;quot; Madam You laughed, &amp;quot;Well, well, it is not necessary. He is nothing to my children who are used to bumps and grazes. Those who act gentle are children of other families, while you are such a ferocious woman. I will be laughed at. &amp;quot; Sister Phoenix said, &amp;quot;It would be fine if I do not laugh. Go and lead him here. &amp;quot;Prosperity Merchant said, &amp;quot;He is green and inexperienced, who has an undemonstrative appearance.I am afraid that you will not feel vigorous.&amp;quot; Sister Phoenix spat some words, &amp;quot;I will meet him even if he is Nataku. Stop speaking nonsenses! Bring him here or getting a slap on the face.&amp;quot; &lt;br /&gt;
Prosperity Merchant said, &amp;quot;Of course I do not flaunt my superiority. I will bring him here soon.&amp;quot; A few minutes latter, she came with a little boy who was a little thinner than Precious Jade, with comely eyebrows, pretty eyes, a pink face, red lips and a perfect stature, which made him a sense of Precious Jade but even better. He was shy and acted like a female. After his coy greeting of bow to Sister Phoenix, she pushed Precious Jade with joy and said, &amp;quot;He looks better!&amp;quot; Then she stretched forward to grasp the boy's hand and let him sit by her, asking him things such as age and study. Then she finally got his name, Frivolity Bell. Those who already knew Sister Phoenix very well seeing that she did not act with correct etiquettes at the first meeting with Frivolity Bell, rushed to tell Miss Ping about this. --[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 08:30, 26 April 2021 (UTC)&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Qingming_Riverside_Landscape_Garden.pptx&amp;diff=123377</id>
		<title>File:Qingming Riverside Landscape Garden.pptx</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Qingming_Riverside_Landscape_Garden.pptx&amp;diff=123377"/>
		<updated>2021-06-16T04:53:28Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: Wu Xinxin uploaded a new version of &amp;amp;quot;File:Qingming Riverside Landscape Garden.pptx&amp;amp;quot;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=File:Qingming_Riverside_Landscape_Garden.pptx&amp;diff=123374</id>
		<title>File:Qingming Riverside Landscape Garden.pptx</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=File:Qingming_Riverside_Landscape_Garden.pptx&amp;diff=123374"/>
		<updated>2021-06-16T04:49:35Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=Foundations_of_Chinese_Cultures_2021&amp;diff=123373</id>
		<title>Foundations of Chinese Cultures 2021</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=Foundations_of_Chinese_Cultures_2021&amp;diff=123373"/>
		<updated>2021-06-16T04:49:18Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Presentations June 16 */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;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]] , [[20210421_culture|8, Apr 21 Chapters 17-19]] (这是5.19的作业）[[20210526_culture|13, May 26 Chapters 17-20]][[20210602_culture|14, June 2 Chapters 21-23]] etc. [[20210601_culture|Final Exam &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;extended deadline June 15&amp;lt;/span&amp;gt;]]&lt;br /&gt;
&lt;br /&gt;
'''《红楼梦》程甲本'''&lt;br /&gt;
&lt;br /&gt;
Welcome to our course website '''Foundations of Chinese Cultures 2021'''. Whenever you visit this site, please see if there is anything in English not yet translated into Chinese and make a Chinese translation beneath (one paragraph English, one paragraph Chinese). Any correction or improvement of earlier translations is welcome!&lt;br /&gt;
&lt;br /&gt;
欢迎访问我们'''中国文化基础'''网页。…………--[[User:Root|Root]] ([[User talk:Root|talk]]) 07:43, 28 September 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Organizational Things=&lt;br /&gt;
*Please register for the Course Wiki.&lt;br /&gt;
*Please prepare each session during the week before, so that you come prepared to class.&lt;br /&gt;
==Description of Homework==&lt;br /&gt;
*We need a website admin student (see description beneath)&lt;br /&gt;
===Regular students===&lt;br /&gt;
1. Please read and prepare all the texts for the next textbook unit.&lt;br /&gt;
&lt;br /&gt;
2. Please go to the homework page and translate the short passage of the Dream of the Red Chamber into English. Do not forget to sign by typing - - ~ ~ ~ ~ (without spaces) at the end.&lt;br /&gt;
&lt;br /&gt;
Then please help your fellow students to correct and improve their translations. Do not forget to sign by typing - - ~ ~ ~ ~ (without spaces) at the end.&lt;br /&gt;
&lt;br /&gt;
3. Once in the semester, you give a presentation on a topic of the textbook. Please do not just repeat the content, but say something from the perspective of a translator: What problems do you encounter when translating the textbook text or when translating texts of this topic. One student can do a presentation, the other can do a handout. Both contributions are graded separately.&lt;br /&gt;
&lt;br /&gt;
===Website Admin student===&lt;br /&gt;
Thank you for helping to watch the Wiki website! Please make sure that it looks nice (formatting, especially if a fellow students makes a mess by putting the wrong format etc., should not look to crowded, so make sub-websites for homework etc.). &lt;br /&gt;
&lt;br /&gt;
===Online Survey students===&lt;br /&gt;
There will be several online surveys conducted throughout the semester. &lt;br /&gt;
Please fill in the first survey after session 1: http://bit.ly/EU-SURVEY&lt;br /&gt;
Please fill in the 2nd quiz (to show that you have read the texts for session 2) before session 2.&lt;br /&gt;
&lt;br /&gt;
==Edits==&lt;br /&gt;
Every student is required to edit something every week. This can be:&lt;br /&gt;
* Translate a pragraph from English to Chinese.&lt;br /&gt;
* Correct an earlier translation.&lt;br /&gt;
* Prepare an article (please link to from this page) and/or a powerpoint (please upload here) on a topic you will present during the semester.&lt;br /&gt;
&lt;br /&gt;
==Material==&lt;br /&gt;
The coursebook will be provided to you in the WeChat Group.&lt;br /&gt;
&lt;br /&gt;
Please rate the 127 topics on http://shijiehanxue.mikecrm.com/uysEi5J or http://bit.ly/rate_topics (you can only rate once). We will select the top 45 topics and deal with 3 topics per week/session.&lt;br /&gt;
&lt;br /&gt;
'''Results of the Rating'''&lt;br /&gt;
&amp;lt;table style=&amp;quot;border-collapse: collapse;width:500pt&amp;quot; width=&amp;quot;450&amp;quot;&lt;br /&gt;
cellspacing=&amp;quot;0&amp;quot; cellpadding=&amp;quot;0&amp;quot; border=&amp;quot;1&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl65&amp;quot; style=&amp;quot;height:14.4pt;width:62pt&amp;quot; width=&amp;quot;83&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot;&amp;gt;Order&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl65&amp;quot; style=&amp;quot;border-left:none;width:62pt&amp;quot;&lt;br /&gt;
width=&amp;quot;83&amp;quot;&amp;gt;Date&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl66&amp;quot; style=&amp;quot;border-left:none;width:508pt&amp;quot;&lt;br /&gt;
width=&amp;quot;677&amp;quot;&amp;gt;Topic&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl65&amp;quot; style=&amp;quot;border-left:none;width:62pt&amp;quot;&lt;br /&gt;
width=&amp;quot;83&amp;quot;&amp;gt;Chapter&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl65&amp;quot; style=&amp;quot;border-left:none;width:44pt&amp;quot;&lt;br /&gt;
width=&amp;quot;58&amp;quot;&amp;gt;Points&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl67&amp;quot; style=&amp;quot;border-left:none;width:44pt&amp;quot;&lt;br /&gt;
width=&amp;quot;58&amp;quot;&amp;gt;Popularity&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;1&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;10.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Beverages:&lt;br /&gt;
Milk Tea&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;21&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;474&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;79%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;2&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;10.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
Cuisine: Eight Major Cuisines in China&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;28&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;468&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;78%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;3&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;10.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Beverages:&lt;br /&gt;
Tea&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;20&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;451&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;75%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;4&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;17.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Architecture:&lt;br /&gt;
&lt;br /&gt;
Architecture and Gardens, The Forbidden City&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-spacerun:yes&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;36&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;433&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;72%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;5&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;17.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
Festivals&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;2&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;432&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;72%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;6&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;17.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;108&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;427&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;71%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;7&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;24.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
Cuisine: Four Distinct Regional Cuisines&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;24&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;423&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;71%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;8&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;24.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Education: Historical Figures, The Four Talented Women of Ancient China&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;119&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;417&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;70%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;9&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;24.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional Cuisine: Two Famous Dishes&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;26&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;415&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;69%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;10&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;31.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Aesthetic&lt;br /&gt;
ideals and social customs: Chinese Marriage Customs&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;110&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;409&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;68%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;11&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;31.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Music and instruments: Pipa&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;95&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;406&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;68%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;12&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;31.03.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional Cuisine: The Art of Chinese Cooking&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;25&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;404&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;67%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;13&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;07.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Silk&lt;br /&gt;
and porcelain: Celadon and Celadon Song 《青花瓷》歌词&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;31&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;401&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;67%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;14&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;07.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional Cuisine: Chinese Dining Etiquette&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:FR;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;FR&amp;quot;&amp;gt;23&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;396&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;66%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;15&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;07.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Facial Make-up: Cosmetics, Traditional Chinese Make-Up&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;98&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;395&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;66%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;16&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;14.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Garden&lt;br /&gt;
Culture: The Summer Palace&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;41&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;385&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;64%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;17&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;14.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Money culture: The tradition of Red Envelope and Lucky Money&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-spacerun:yes&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;106&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;384&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;64%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;18&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;14.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Stage entertainment: Crosstalk 相声&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;99&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;383&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;64%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;19&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;21.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Architecture&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;35&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;377&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;63%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;20&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;21.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Music and instruments: Guzheng&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;94&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;375&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;63%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;21&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;21.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Astrology: Twelve Animals of the Chinese Zodiac&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;71&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;372&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;62%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;22&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;28.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Ancient&lt;br /&gt;
literature: Four Folk Stories of Ancient China&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;49&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;371&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;62%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;23&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;28.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Ancient literature: Chinese Classical Fairy Tales&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;50&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;369&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;62%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;24&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;28.04.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese language: Chinese Dialects&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;45&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;368&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;61%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;25&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;08.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Animals:&lt;br /&gt;
Panda&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;128&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;366&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;61%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;26&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;08.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Facial Make-up: Face Changing in Sichuan Opera&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;97&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;365&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;61%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;27&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;08.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Mythology: Huli-jing&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;73&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;364&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;61%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;28&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;12.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional Crafts: Folk Art - Chinese Paper-cutting&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;19&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;364&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;61%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;29&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;12.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Science and Technology: Douyin (Tik Tok)&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;8&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;362&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;60%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;30&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;12.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese clothing / interieur: Chinese clothing&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;112&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;361&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;60%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;31&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;19.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Facial Make-up&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;96&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;360&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;60%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;32&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;19.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Beverages: The Liquor Culture of Ancient China&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;22&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;357&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;60%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;33&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;19.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Premodern literature: Tang and Song (2 texts)&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;51&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;357&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;60%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;34&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;26.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Medicine: The Development of Chinese Medicine&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;68&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;356&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;59%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;35&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;26.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Modern and Contemporary Literature: Qian Zhongshu (Ch'ien&lt;br /&gt;
Chung-shu)&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;56&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;349&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;58%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;36&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;26.05.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Body movement performance: Traditional Chinese Dance&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;103&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;346&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;58%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;37&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;02.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Astrology: Calendar, The 24 Solar Terms&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;72&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;346&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;58%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;38&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;02.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Stage entertainment: Shadow Play&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;100&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;344&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;57%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;39&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;02.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Astrology: Chinese Astrology&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;70&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;338&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;56%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;40&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;09.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Writing: Chinese Characters&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;9&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;336&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;56%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;41&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;09.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Landscapes and tourism: Landscape, Five Famous Mountains&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;122&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;333&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;56%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;42&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;09.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional Crafts: Carving&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;17&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;326&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;54%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;43&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;16.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Landscapes and tourism: Tourism, Nanjing-An Ancient Capital of Six Dynasties&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;126&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;319&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;53%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;44&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;16.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Garden Culture: Qingming Riverside Landscspe Garden&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;42&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;317&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;53%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;45&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl69&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;16.06.2021&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
Crafts: Handcraft - Chinese Knots&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;18&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;317&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;53%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;46&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Fine Arts: Painting&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;32&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;316&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;53%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;47&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese clothing / interieur: Cheongsam&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;113&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;312&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;52%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;48&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Silk Road - by land and by sea: Zhang Qian and the Silk Road&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;89&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;309&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;52%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;49&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Money culture: Currency, Jiaozi (A Paper Currency in Northern Song&lt;br /&gt;
Dynasty)&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;105&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;308&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;51%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;50&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Beijing Opera: Actor Mei Lanfang&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;61&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;306&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;51%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;51&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Education: Ancient Chinese Education&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;116&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;305&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;51%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;52&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese language&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;44&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;304&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;51%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;53&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional Crafts: Embroidery&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;14&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;304&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;51%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;54&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Mythology: Gods and Immortals&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;74&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;303&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;51%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;55&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Writing: Calligraphy&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;11&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;302&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;50%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;56&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Landscapes and tourism: The Ancient Tea Horse Road&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;123&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;300&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;50%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;57&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional Festivals: Spring Festival Couplets&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;3&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;299&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;50%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;58&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Premodern literature: Li Bai's 李白 《长干行》 and its translations&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;52&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;297&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;50%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;59&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese Medicine: Acupuncture and Moxibustion&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;67&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;296&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;49%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;60&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Silk and porcelain: Silk&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;29&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;296&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;49%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;61&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Science and Technology: China's Four New Inventions&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;7&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;294&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;49%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;62&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Stage entertainment: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;101&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;294&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;49%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;63&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Games: Go 围棋&amp;lt;span style=&amp;quot;mso-spacerun:yes&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;107&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;291&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;49%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;64&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Premodern&lt;br /&gt;
literature: Strange Stories from a Chinese Studio&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;54&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;289&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;48%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;65&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Religions: Daoism&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;76&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;288&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;48%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;66&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Science and Technology: Ancient Science and Technology&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;5&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;286&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;48%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;67&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Architecture:&lt;br /&gt;
Bridges&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;39&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;284&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;47%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;68&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Education:&lt;br /&gt;
Yuelu Academy (One of the Four Most Prestigious Academies)&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;117&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;283&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;47%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;69&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Landscapes&lt;br /&gt;
and tourism: Mogao Grottoes&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;124&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;283&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;47%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;70&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Silk Road - by land and by sea: Zheng He and the Maritime Silk&lt;br /&gt;
Road&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;90&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;283&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;47%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;71&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Ancient&lt;br /&gt;
literature: Classical Literature&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;46&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;281&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;47%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;72&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Army&lt;br /&gt;
and weapons: Chinese Ancient Weapons&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;121&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;281&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;47%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;73&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Aesthetic&lt;br /&gt;
ideals and social customs: Habits, Ways of Contacting&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;109&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;279&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;47%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;74&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Architecture:&lt;br /&gt;
Three Great Towers in China&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;38&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;275&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;46%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;75&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Fine&lt;br /&gt;
Arts: Seal-cutting&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;33&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;275&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;46%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;76&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Silk&lt;br /&gt;
Road - by land and by sea: Zheng He's Voyages&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;91&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;275&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;46%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;77&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Garden&lt;br /&gt;
Culture: Gardens&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;40&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;274&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;46%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;78&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese&lt;br /&gt;
Medicine: Diagnosis and Pharmacology&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;66&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;273&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;46%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;79&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Beijing&lt;br /&gt;
Opera&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;60&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;272&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;45%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;80&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese&lt;br /&gt;
Writing: Chinese Characters and Scripts&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;10&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;272&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;45%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;81&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Premodern&lt;br /&gt;
literature: China's Four Great Classical Novels&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;53&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;270&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;45%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;82&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese&lt;br /&gt;
clothing / interieur: The Folding Screen&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;115&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;267&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;45%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;83&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Ancient&lt;br /&gt;
literature: Chinese Mythology&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;48&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;265&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;44%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;84&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese&lt;br /&gt;
Medicine: Zhang Zhongjing&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;69&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;264&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;44%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;85&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Landscapes&lt;br /&gt;
and tourism: Four State-Level Cultural Relics&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;125&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;263&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;44%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;86&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Martial&lt;br /&gt;
Arts: Qigong&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;64&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;262&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;44%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;87&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Architecture:&lt;br /&gt;
Four Great Pavilions&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;37&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;261&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;44%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;88&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Religions:&lt;br /&gt;
Buddhism&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;75&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;260&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;89&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
Cuisine: Chopsticks&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;27&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;260&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;90&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Westernization:&lt;br /&gt;
The Eastward Spread of Western Learning&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;92&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;260&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;91&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Body&lt;br /&gt;
movement performance: Chinese Lion Dancing&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-spacerun:yes&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;104&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;259&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;92&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Body&lt;br /&gt;
movement performance: Stilts&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;102&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;259&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;93&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Science&lt;br /&gt;
and Technology: Compass&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;6&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;259&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;94&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese&lt;br /&gt;
Writing: The Evolution of Calligraphy&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;12&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;258&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;95&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese&lt;br /&gt;
Writing: Ancient Writing and Painting Tool, Writing Brush&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;13&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;255&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;43%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;96&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Garden&lt;br /&gt;
Culture: Bonsai (Penjing)&amp;lt;span style=&amp;quot;mso-spacerun:yes&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;43&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;253&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;42%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;97&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
Crafts: Lacquerware&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;16&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;247&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;41%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;98&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Chinese&lt;br /&gt;
clothing / interieur: Batik&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;114&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;242&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;40%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;99&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Confucianism:&lt;br /&gt;
&lt;br /&gt;
Confucian Culture&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;81&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;237&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;40%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;100&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Westernization:&lt;br /&gt;
The Westernization Movement&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;93&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;236&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;39%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;101&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Modern and Contemporary Literature: Novels&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;57&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;234&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;39%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;102&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Modern and Contemporary Literature: Literature, Science Fiction,&lt;br /&gt;
and Fantasy&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;59&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;233&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;39%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;103&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Ancient&lt;br /&gt;
literature: Yue Fu&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-ansi-language:IT;mso-bidi-font-weight:bold&amp;quot;&lt;br /&gt;
lang=&amp;quot;IT&amp;quot;&amp;gt;47&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;231&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;39%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;104&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Modern and Contemporary Literature: Modern Literature&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;55&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;231&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;39%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;105&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;118&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;229&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;38%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;106&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Confucianism: Four Main Philosophic Schools&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;79&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;226&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;38%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;107&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;85&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;225&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;38%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;108&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;111&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;219&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;37%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;109&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Landscapes&lt;br /&gt;
and tourism: Four Buddhist Shrines&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;127&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;213&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;36%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;110&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Beijing&lt;br /&gt;
Opera: Beijing Opera Acrobatics&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;62&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;211&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;35%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;111&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Confucianism:&lt;br /&gt;
&lt;br /&gt;
Classical Philosophy - Confucius and Confucianism&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;80&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;211&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;35%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;112&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Martial&lt;br /&gt;
Arts: Wushu&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;63&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;211&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;35%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;113&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Army&lt;br /&gt;
and weapons: Terracotta Army&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;120&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;210&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;35%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;114&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Fine&lt;br /&gt;
Arts: Bada Shanren and Qi Baishi&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;34&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;210&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;35%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;115&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Martial&lt;br /&gt;
Arts: Huo Yuanjia&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;65&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;210&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;35%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;116&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Modern and Contemporary Literature: Contemporary Literature&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;58&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;209&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;35%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;117&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Daoism&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;84&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;204&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;34%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;118&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
&lt;br /&gt;
Festivals: Lattice on Ancient Chinese Windows&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;4&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;203&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;34%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;119&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Silk&lt;br /&gt;
and porcelain: Porcelain&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;30&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;197&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;33%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;120&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Philosophical Schools (Daoism, Buddhism, Legalism): Legalism&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-spacerun:yes&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;88&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;196&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;33%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;121&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Confucianism:&lt;br /&gt;
Chinese Traditional Culture-Five Constant Virtues&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;83&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;195&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;33%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;122&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Traditional&lt;br /&gt;
Crafts: Cloisonne&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;194&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;32%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;123&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Religions:&lt;br /&gt;
&lt;br /&gt;
Christianity&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;78&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;176&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;29%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;124&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Religions:&lt;br /&gt;
Islam&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;77&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;171&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;29%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;125&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Confucianism:&lt;br /&gt;
&lt;br /&gt;
Classical Philosophy - Reading The Analects&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;82&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;170&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;28%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;126&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;87&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;168&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;28%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;tr style=&amp;quot;height:14.4pt&amp;quot; height=&amp;quot;19&amp;quot;&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;height:14.4pt;border-top:none&amp;quot;&lt;br /&gt;
height=&amp;quot;19&amp;quot; align=&amp;quot;right&amp;quot;&amp;gt;127&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl68&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;amp;nbsp;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl70&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl71&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&amp;gt;&amp;lt;span&lt;br /&gt;
style=&amp;quot;mso-bidi-font-weight:bold&amp;quot; lang=&amp;quot;EN-US&amp;quot;&amp;gt;86&amp;lt;/span&amp;gt;&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl72&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;154&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;td class=&amp;quot;xl73&amp;quot; style=&amp;quot;border-top:none;border-left:none&amp;quot;&lt;br /&gt;
align=&amp;quot;right&amp;quot;&amp;gt;26%&amp;lt;/td&amp;gt;&lt;br /&gt;
&amp;lt;/tr&amp;gt;&lt;br /&gt;
&amp;lt;/table&amp;gt;&lt;br /&gt;
&lt;br /&gt;
=Schedule=&lt;br /&gt;
1st Session: Organizational things&lt;br /&gt;
&lt;br /&gt;
Vote on the topics for the current semester.&lt;br /&gt;
&lt;br /&gt;
At the end of the session: Take the EU survey http://bit.ly/EU-SURVEY&lt;br /&gt;
&lt;br /&gt;
2nd session: (topic chosen by students)&lt;br /&gt;
&lt;br /&gt;
3rd session: (topic chosen by students)&lt;br /&gt;
&lt;br /&gt;
4th session: (topic chosen by students)&lt;br /&gt;
&lt;br /&gt;
5th session: (topic chosen by students)&lt;br /&gt;
&lt;br /&gt;
6th session: (topic chosen by students)&lt;br /&gt;
&lt;br /&gt;
7th session: (topic chosen by students)&lt;br /&gt;
&lt;br /&gt;
8th session: (topic chosen by students)&lt;br /&gt;
&lt;br /&gt;
...&lt;br /&gt;
&lt;br /&gt;
New topics suggested by students: ...&lt;br /&gt;
&lt;br /&gt;
==1st Session==&lt;br /&gt;
*Teacher Classroom presentation 01 [[Media:Found_Chin_Cult_01.ppt|Teacher presentation of 1st session]]&lt;br /&gt;
*Teacher Course Book is provided in WeChat group. Cannot be uploaded here because of copyright reasons.&lt;br /&gt;
&lt;br /&gt;
Introduction to the course. Organizational things. Working with the Wiki.&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 1 (Mar 3, 2021), due for Session 2 (Mar 10, 2021)===&lt;br /&gt;
1. Every student receives a short paragraph in English to translate into Chinese. You can &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;'''write it [[20210303_culture|here]]'''&amp;lt;/span&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
The full text which should be translated throughout the year is [[Media:Chengjiaben.doc]]&lt;br /&gt;
&lt;br /&gt;
2. Help a fellow student to improve his/her translation on that page.&lt;br /&gt;
&lt;br /&gt;
3. Please answer the quiz on ... (see links in WeChat group)&lt;br /&gt;
&lt;br /&gt;
==2nd Session Mar 10, 2021: Milk Tea, Eight Major Cuisines, Tea==&lt;br /&gt;
===Homework as a preparation for March 10===&lt;br /&gt;
1. Please translate your paragraph of Session 1 (Mar 3, 2021), due for Session 2 (Mar 10, 2021) [[20210303_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary. The texts are: 1 Beverages: Milk Tea, 2 Traditional Cuisine: Eight Major Cuisines in China, 3 Beverages: Tea.&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts:&lt;br /&gt;
*Milk Tea http://geip720doqudd7v4.mikecrm.com/bpJOj93&lt;br /&gt;
*Eight Major Cuisines in China http://jy0tp60pjbxfwebr.mikecrm.com/fY4Aggt&lt;br /&gt;
*Tea http://mtv80dxnpmlcptyw.mikecrm.com/VkAgGL6&lt;br /&gt;
&lt;br /&gt;
4. (Only for 3 students: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
===Presentations March 10===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:02_Foundation_Chin_Cult_Tea.pptx|Powerpoint for 2nd session on Tea by Martin Woesler]] for download&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation on topic 1 Milk Tea [[Media:Milk_Tea_by_Shu_Lin.ppt|Presentation on Milk Tea by Shu Lin 舒琳]]&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation on topic 2 Eight Major Cuisines [[Media:Traditional_Cuisine_Eight_Major_Cuisines_in_China_by_Su_Xiao.pptx|Presentation on Traditional Cuisine: Eight Major Cuisines in China by Su Xiao 苏潇]]&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation on topic 3 Tea [[Media:Tea_by_Teng_Bixia.ppt|Presentation on tea by Teng Bixia 滕璧霞]]&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 2  (Mar 10, 2021) for Session 3 (Mar 17, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 2 (Mar 10, 2021), due for Session 3 (Mar 17, 2021) [[20210310_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for 3 students: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==3rd Session Mar 17: Architecture incl. Forbidden City, Traditional Festivals, Handsome Men==&lt;br /&gt;
===Homework as a preparation for Mar 17===&lt;br /&gt;
1. Please translate your paragraph of Session 2 (Mar 10, 2021), due for Session 3 (Mar 17, 2021) [[20210310_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts:&lt;br /&gt;
*Architecture, including Forbidden Cities http://sg.mikecrm.com/T9apJoZ&lt;br /&gt;
*Traditional Festivals http://u3xxio2gkk43us5u.mikecrm.com/KdFESNp&lt;br /&gt;
*Aesthetic Ideals: The Four Most Handsome Men https://ks.wjx.top/vm/YHNWyGB.aspx&lt;br /&gt;
&lt;br /&gt;
4. (Only for 3 students: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
===Presentations Mar 17===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:03_Foundation_Chin_Cult_Architecture.pptx|Powerpoint for 3rd session on Architecture by Martin Woesler]] for download (will be uploaded after class)&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no. 4 on topic Architecture and Gardens, The Forbidden City [[Media:Architecture_and_Forbidden_City.ppt|Presentation on Architecture and Forbidden City by Mr. Zhào Kē 赵轲]]&lt;br /&gt;
&lt;br /&gt;
[[File:Spring_Festival.jpg|100px|thumb|left|Photo - cc licence.]]&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no. 5 on topic Traditional Festivals [[Media:Traditional_Festivals.ppt|Presentation on Traditional Festivals by Yì Míngxiá 易明霞]]&lt;br /&gt;
&lt;br /&gt;
[[File:King_Lanling.png|500px|thumb|right|Manga version of King Lanling - no copyright.]]&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no. 6 on topic Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China  [[Media:Four_Most_Handsome_Men.ppt|Presentation on The Four Most Handsome Men by Péng Jiāyù 彭佳钰]]&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 3 (Mar 17, 2021) for Session 4 (Mar 24, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 3 (Mar 17, 2021), due for Session 4 (Mar 24, 2021) [[20210317_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for 3 students: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==4th Session Mar 24: Four Distinct Regional Cuisines; Historical Figures, Four Women; Two Famous Dishes==&lt;br /&gt;
===Homework as a preparation for Mar 24===&lt;br /&gt;
1. Please translate your paragraph of Session 3 (Mar 17, 2021), due for Session 4 (Mar 24, 2021) [[20210317_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary. &lt;br /&gt;
&lt;br /&gt;
This time, you do not need to take the quizzes about the three texts to prepare in advance.&lt;br /&gt;
&lt;br /&gt;
3. (Only for 3 students: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
===Session Mar 24: Quizzes and Presentations===&lt;br /&gt;
&lt;br /&gt;
'''Contents for today's Session'''&lt;br /&gt;
*Four Distinct Regional Cuisines&lt;br /&gt;
*Historical Figures, Four Women&lt;br /&gt;
*Two Famous Dishes&lt;br /&gt;
&lt;br /&gt;
*Explanation about Hounglou Meng translation homework&lt;br /&gt;
&lt;br /&gt;
*We take the following quizzes in class to check on the preparation for today:&lt;br /&gt;
*Four Distinct Regional Cuisines https://ks.wjx.top/vj/tUEq5AW.aspx&lt;br /&gt;
*Historical Figures, Four Women https://ks.wjx.top/vm/YhIAxyb.aspx&lt;br /&gt;
*Two Famous Dishes https://ks.wjx.top/vm/ek295PA.aspx&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:04_Foundation_Chin_Cult_Cuisine_Women.pptx|Powerpoint for 4th session on Cuisine and Women by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no. 7 on topic Traditional Cuisine: Four Distinct Regional Cuisines [[Media:Traditional_Cuisine_Four_Distinct_Regional_Cuisines.ppt|Presentation on Traditional Cuisine: Four Distinct Regional Cuisines by 王子涵]]&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no. 8 on topic Education: Historical Figures, The Four Talented Women of Ancient China [[Media:Education_Historical_Figures_The_Four_Talented_Women_of_Ancient_China.ppt|Presentation on Education: Historical Figures, The Four Talented Women of Ancient China by 袁静]]&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no. 9 on topic Traditional Cuisine: Two Famous Dishes [[Media:Traditional_Cuisine_Two_Famous_Dishes.ppt|Presentation on Traditional Cuisine: Two Famous Dishes by 刘廷阳]]&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 4 (Mar 24, 2021) for Session 5 (Mar 31, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 4 (Mar 24, 2021), due for Session 5 (Mar 31, 2021) [[20210324_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for 3 students: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==5th Session Mar 31: Marriage Customs; Pipa; The Art of Chinese Cooking==&lt;br /&gt;
===Homework as a preparation for Mar 31===&lt;br /&gt;
1. Please translate your paragraph of Session 4 (Mar 24, 2021), due for Session 5 (Mar 31, 2021) [[20210324_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
*Aesthetic ideals and social customs: Chinese Marriage Customs&lt;br /&gt;
*Music and instruments: Pipa&lt;br /&gt;
*Traditional Cuisine: The Art of Chinese Cooking&lt;br /&gt;
4. (Only for the 3 students 杜心语, 刘卓凡, 戴沐雨: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
===Presentations Mar 31===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:05_Foundation_Marriage_Pipa_Cooking.pptx|Powerpoint for 5th session on Marriage/Pipa/Cooking by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no. 10 on topic Aesthetic ideals and social customs: Chinese Marriage Customs [[Media:Marriage.ppt|Presentation on Marriage Customs by 杜心语]]&lt;br /&gt;
&lt;br /&gt;
Quiz https://ks.wjx.top/vj/w3HDLsU.aspx&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no. 11 on topic Music and instruments: Pipa [[Media:Pipa.ppt|Presentation on Music and instruments: Pipa by 刘卓凡]]&lt;br /&gt;
&lt;br /&gt;
Quiz: https://ks.wjx.top/vj/rutjD9h.aspx&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no. 12 on topic Traditional Cuisine: The Art of Chinese Cooking [[Media:Cooking.ppt|Presentation on the Art of Chinese Cooking by 戴沐雨]]&lt;br /&gt;
&lt;br /&gt;
Quiz: https://ks.wjx.top/vj/Q0s0tfA.aspx&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 5 (Mar 31, 2021) for Session 6 (Apr 7, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 5 (Mar 31, 2021), due for Session 6 (Apr 7, 2021) [[20210331_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 唐启洲, 邓丹, 吴欣欣: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==6th Session Apr 7: Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词; Traditional Cuisine: Chinese Dining Etiquette; Facial Make-up: Cosmetics, Traditional Chinese Make-Up==&lt;br /&gt;
===Homework as a preparation for Apr 7===&lt;br /&gt;
1. Please translate your paragraph of Session 5 (Mar 31, 2021), due for Session 6 (Apr 7, 2021) [[20210331_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. (Only for the 3 students 唐启洲, 邓丹, 吴欣欣: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
===Presentations Apr 7===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:06_Foundation_Chin_Cult_Celdaon_Etiquette_Make-up.pptx|Powerpoint for 6th session on Apr 7 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
Repitition of last session: presentation no. 10 Aesthetic ideals and social customs: Chinese Marriage Customs Presentation on Marriage Customs by Dù Xīnyǔ 杜心语 (Quiz has been taken)&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no. 13 on topic Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 by 唐启洲 Tang Qizhou [[Media:Celadon_by_Tang_Qizhou.ppt|Presentation on Celadon by 唐启洲]]&lt;br /&gt;
&lt;br /&gt;
Compare old presentations [[Media:Celadon.pptx]] by Chen Jingjing 18 October 2020 (UTC) and &lt;br /&gt;
Handout [[Media:Celadon.docx]] by Gao Mingzhu 18 October 2020 (UTC)&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no. 14 on topic Traditional Cuisine: Chinese Dining Etiquette by 邓丹 Deng Dan [[Media:Dining_Etiquette.ppt|Presentation on Dinging_Etiquette by 邓丹]]&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no. 15 on topic Facial Make-up: Cosmetics, Traditional Chinese Make-Up by 吴欣欣 Wu Xinxin [[Media:Make-up.ppt|Presentation on Make-up by 吴欣欣]]&lt;br /&gt;
&lt;br /&gt;
During class: please take the quiz to show that you have learned the three texts.&lt;br /&gt;
*13 Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 by Tang Qizhou 唐启洲 https://ks.wjx.top/vj/mbCcX4k.aspx&lt;br /&gt;
*14 Traditional Cuisine: Chinese Dining Etiquette by Deng Dan 邓丹https://ks.wjx.top/vj/eToeY28.aspx&lt;br /&gt;
*15 Facial Make-up: Cosmetics, Traditional Chinese Make-Up by Wu Xinxin 吴欣欣 https://ks.wjx.top/vj/QsAO21a.aspx&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 6 (Apr 7, 2021) for Session 7 (Apr 14, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 6 (Apr 7, 2021), due for Session 7 (Apr 14, 2021) [[20210407_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 丁仲夏, 汤惠, 王沁瑜: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==7th Session Apr 14: Garden Culture: The Summer Palace; Money culture: The tradition of Red Envelope and Lucky Money; Stage entertainment: Crosstalk 相声==&lt;br /&gt;
===Homework as a preparation for Apr 14===&lt;br /&gt;
1. Please translate your paragraph of Session 6 (Apr 7, 2021), due for Session 7 (Apr 14, 2021) [[20210407_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. (Only for the 3 students 丁仲夏, 汤惠, 王沁瑜: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
===Presentations Apr 7===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:07_Foundation_Chin_Cult.pptx|Powerpoint for 7th session on Apr 14 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no. 16 on topic Garden Culture: The Summer Palace by 丁仲夏  [[Media:Summer_Palace_by_Ding_Zhongxia.pptx|Presentation on Summer Palace by 丁仲夏]] Quiz: https://ks.wjx.top/vj/emI82uf.aspx&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no. 17 on topic Money culture: The tradition of Red Envelope and Lucky Money by Tang Hui 汤惠 [[Media:Red_Envelope_by_Tang_Hui.pptx|Presentation on Red Envelope by Tang Hui 汤惠]] Quiz: https://ks.wjx.top/vj/QQ50gHA.aspx&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no. 18 on topic Stage entertainment: Crosstalk 相声 by 王沁瑜 [[Media:Crosstalk_by_Wang_Xinyu.pptx|Presentation on Crosstalk by Wang Xinyu 王沁瑜]] &lt;br /&gt;
https://ks.wjx.top/vj/mRSdEeX.aspx&lt;br /&gt;
&lt;br /&gt;
During class: please take the quiz to show that you have learned the three texts.&lt;br /&gt;
*16 Garden Culture: The Summer Palace by 黄梓龙&lt;br /&gt;
*17 Money culture: The tradition of Red Envelope and Lucky Money by 黄沥霈&lt;br /&gt;
*18 Stage entertainment: Crosstalk 相声 by 鲍沁雯&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 7 (Apr 14, 2021) for Session 8 (Apr 21, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 7 (Apr 14, 2021), due for Session 8 (Apr 21, 2021) [[20210414_culture|7, Apr 14 Chapters 13-15]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 黄梓龙，黄沥霈，鲍沁雯: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
==Session 8 (April 21, 2021) Architecture, Guzheng and Zodiac==&lt;br /&gt;
&lt;br /&gt;
===Presentations Apr 21===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:08_Foundation_Chin_Cult.pptx|Powerpoint for 8th session on Apr 21 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no.19 on topic Architecture by 黄梓龙 Huang Zilong  [[Media:Architecture.pptx|Presentation on topic Architecture by 黄梓龙 Huang Zilong]], quiz quiz https://ks.wjx.top/vj/exCQe42.aspx&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no. 20 on topic Music and instruments: Guzheng by 黄沥霈 Huang Lipei[[Media:Music and instruments.pptx|Presentation on topic Music and instruments: Guzheng by 黄沥霈 Huang Lipei]], quiz https://ks.wjx.top/vj/QhAxOuc.aspx&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no. 21 on topic Chinese Astrology: Twelve Animals of the Chinese Zodiac by 鲍沁雯 Bao Qinwen [[Media:Chinese Astrology.pptx|Presentation on topic Chinese Astrology: Twelve Animals of the Chinese Zodiac by 鲍沁雯 Bao Qinwen]] quiz https://ks.wjx.top/vj/mtuOXCk.aspx&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 8 (Apr 14, 2021) for Session 9 (Apr 21, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 8 (Apr 21, 2021), due for Session 9 (Apr 28, 2021) [[202104021_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 郭亚波，李艺浩，王楚仪: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==Session 9 (April 28, 2021): Four Folk Stories; Fairy Tales; Dialects==&lt;br /&gt;
&lt;br /&gt;
===Presentations Apr 28===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:09_Foundation_Chin_Cult.pptx|Powerpoint for 9th session on Apr 28 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no.22 on topic   [[Media:pptx|Presentation]] &lt;br /&gt;
Ancient literature: Four Folk Stories of Ancient China by Guo Yabo 郭亚&lt;br /&gt;
&lt;br /&gt;
https://ks.wjx.top/vj/tjSBAcA.aspx&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no.23 on topic Chinese fairy tales by 李艺浩  [[Media:Chinese fairy tales.pptx|Presentation on topic Chinese fairy tales by 李艺浩 Li Yihao]]&lt;br /&gt;
&lt;br /&gt;
https://ks.wjx.top/vj/wUOEtUD.aspx&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no.24 on  [[Media:pptx|Presentation]]&lt;br /&gt;
Chinese language: Chinese Dialects by Wang Chuyi 王楚仪&lt;br /&gt;
&lt;br /&gt;
https://ks.wjx.top/vm/P2rF4SZ.aspx&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 9 (Apr 28, 2021) for Session 10 (May 8, 2021)===&lt;br /&gt;
1.修改前七次作业中出现的人名&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 黄芳芳，王静怡，伍斯仪: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==Session 10 (May 8, 2021): Panda; Face Changing in Sichuan Opera; Mythology: Huli-jing==&lt;br /&gt;
&lt;br /&gt;
===Presentations May 8===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:10_Foundation_Chin_Cult.pptx|Powerpoint for 10th session on May 8 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
For interested students: [[Book_projects|Current book projects.]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no. 25 on Panda by 黄芳芳 [[Media:panda.pptx|Presentation on panda by Huang Fangfang 黄芳芳]] 这是quiz的链接：https://ks.wjx.top/vj/QDLYAKI.aspx&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no. 26 on topic Face Changing in Sichuan Opera by Wang Jingyi 王静怡[[Media:Face Changing in Sichuan Opera.pptx|Presentation on Face Changing in Sichuan Opera by Wang Jingyi 王静怡]] https://ks.wjx.top/vj/Pph4FZk.aspx&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no. 27 on Mythology:Huli-jing by 伍斯仪 [[Media:Mythology:Huli-jing.pptx|Presentation on Mythology: Huli-jing by Wu Siyi 伍斯仪]] https://ks.wjx.top/vj/QeARcL0.aspx&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 10 (May 8, 2021) for Session 11 (May 12, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 10 (May 8, 2021), due on Session 11 (May 12, 2021) [[202105008_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 28 么阳, 29 黄笑兰, 1 # ...: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==Session 11 (May 12, 2021): Paper-cutting; Douyin (Tik Tok); Chinese clothing==&lt;br /&gt;
&lt;br /&gt;
===Presentations May 12===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:11_Foundation_Chin_Cult.pptx|Powerpoint for 11th session on May 12 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
28. Classroom presentation [[Media:Paper-cutting.pptx|Presentation on May 12 by Yao Yang 么阳]] Classroom presentation no. 28 on paper cutting by Yao Yang 么阳. 这是quiz的链接：https://ks.wjx.top/vj/hWic51g.aspx&lt;br /&gt;
&lt;br /&gt;
29. Classroom presentation no. 29 [[Media:Tiktok.pptx|on tiktok]] by Huang Xiaolan黄笑兰. 这是quiz的链接： https://ks.wjx.top/vj/YyKMJyZ.aspx&lt;br /&gt;
&lt;br /&gt;
30. Classroom presentation no. 30 [[Media:ChineseClothing.pptx|on Chinese clothing]] by Shu Lin 舒琳. 这是quiz的链接：https://ks.wjx.top/vj/rPvogih.aspx&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 11 (May 12, 2021) for Session 12 (May 19, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 11 (May 12, 2021), due on Session 12 (May 19, 2021) [[202105012_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 31 #, 32 #, 33 # ...: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==Session 12 (May 19, 2021): Facial Make-up; Beverages: The Liquor Culture of Ancient China; Premodern literature: Tang and Song (2 texts)==&lt;br /&gt;
&lt;br /&gt;
===Presentations May 19===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:12_Foundation_Chin_Cult.pptx|Powerpoint for 12th session on May 19 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
31. Classroom presentation no.31 [[Media:Facial_Make-up.pptx|Presentation on May 19 on traditional Chinese Make-up by Su Xiao 苏潇]] &lt;br /&gt;
 &lt;br /&gt;
32. Classroom presentation no.32 [[Media:Beverages_The_Liquor_Culture_of_Ancient_China.pptx|on Beverages The Liquor Culture of Ancient China by 滕璧霞]] &lt;br /&gt;
&lt;br /&gt;
33. Classroom presentation no.33 [[Media:Premodern_literature_Tang_and_Song_2_texts.pptx|on Premodern literature Tang and Song by 赵轲]]&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 12 (May 19, 2021) for Session 13 (May 26, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 12 (May 19, 2021), due on Session 13 (May 26, 2021) [[202105019_culture|here]]&lt;br /&gt;
&lt;br /&gt;
2. Please read the three texts in our coursebook on Qian Zhongshu, Dance and Calendar/24 solar terms and learn the vocabulary&lt;br /&gt;
&lt;br /&gt;
3. Please take the quiz to show that you have learned the three texts.&lt;br /&gt;
&lt;br /&gt;
4. (Only for the 3 students 34 Qian Zhongshu by Yì Míngxiá 易明霞, 35 Dance by Péng Jiāyù 彭佳钰, 36 Calendar, 24 solar terms by Wang Zihan 王子涵: Please prepare a 5-minute presentation about one of the three texts and upload it here.)&lt;br /&gt;
&lt;br /&gt;
==Session 13 (May 26,2021): Chinese Medicine: The Development of Chinese Medicine;  Modern and Contemporary Literature: Qian Zhongshu (Ch'ien Chung-shu);  Body movement performance: Traditional Chinese Dance ==&lt;br /&gt;
&lt;br /&gt;
===Presentations May 26===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:13_Foundation_Chin_Cult.pptx|Powerpoint for 13th session on May 26 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no.34 Presentation on [[Media:Chinese_Medicine.pptx|Chinese Medicine: The Development of Chinese Medicine]] by Yì Míngxiá 易明霞quiz: https://ks.wjx.top/vj/Q1uEUyp.aspx&lt;br /&gt;
&lt;br /&gt;
2. no.36 on Traditional [[Media:Chinese_Dance.pptx|Chinese Dance]] by Péng Jiāyù 彭佳钰 https://ks.wjx.top/vj/ez2zNsA.aspx&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no.37 Calendar: [[Media:24_solar_terms.pptx|24 solar terms]] by Wang Zihan 王子涵&lt;br /&gt;
&lt;br /&gt;
Next time:&lt;br /&gt;
&lt;br /&gt;
4. Classroom presentation no.35 on Modern and Contemporary Literature: Qian Zhongshu (Ch'ien Chung-shu) by ...&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 13 (May 26, 2021) for ( June 2, 2021)===&lt;br /&gt;
1. Please translate your paragraph of Session 13 (May 26, 2021), due on (June 2, 2021) &lt;br /&gt;
&lt;br /&gt;
==Session 14 (June 2,2021): Modern and Contemporary Literature: Qian Zhongshu (Ch'ien Chung-shu);  	Stage entertainment: Shadow Play;  Chinese Astrology: Chinese Astrology ==&lt;br /&gt;
&lt;br /&gt;
===Presentations June 2===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:14_Foundation_Chin_Cult.pptx|Powerpoint for 14th session on June 2 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations and quizzes'''&lt;br /&gt;
&lt;br /&gt;
1. Quiz on 24 solar terms https://ks.wjx.top/vj/h1iYEKj.aspx&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no.10[[Media:.pptx|Aesthetic ideals and social customs: Chinese Marriage Customs]] by 杜心语 (quiz https://ks.wjx.top/vj/w3HDLsU.aspx has been taken)&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no.35 [[Media:.pptx|Modern and Contemporary Literature: Qian Zhongshu (Ch'ien Chung-shu)]] by 袁静 Yuan Jing, quiz: https://ks.wjx.top/vj/OHy8u1P.aspx&lt;br /&gt;
&lt;br /&gt;
4. Classroom presentation no.38 [[Media:.pptx|Stage entertainment: Shadow Play]] by 刘廷阳, quiz: https://ks.wjx.top/vj/YiDw8PV.aspx&lt;br /&gt;
&lt;br /&gt;
5. Classroom presentation no.39 [[Media:.pptx|Chinese Astrology: Chinese Astrology]] by 杜心语, quiz: https://ks.wjx.top/vj/Q0MUUEL.aspx （杜心语第一轮pre的quiz大家已经完成了，所以不用再测&lt;br /&gt;
&lt;br /&gt;
===Homework of Session 14 (June 02, 2021) for ( June 9, 2021)===&lt;br /&gt;
[[20210602_culture|14, June 2 Chapters 21-23]]&lt;br /&gt;
&lt;br /&gt;
==Session 15 (June 9,2021): Chinese Writing: Chinese Characters; Landscapes and tourism: Landscape, Five Famous Mountains;  Traditional Crafts: Carving ==&lt;br /&gt;
&lt;br /&gt;
===Presentations June 9===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:15_Foundation_Chin_Cult.pptx|Powerpoint for 15h session on June 9 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no.40 [[Media:Chinese_Characters.pptx|Chinese Writing: Chinese Characters]] by刘卓凡, Quiz https://ks.wjx.top/vj/YFwHXlD.aspx &lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no.41 [[Media:Landscape_Five_Famous_Mountains.pptx|Landscapes and tourism: Landscape, Five Famous Mountains]] by 戴沐雨, Quiz https://ks.wjx.top/vj/YDrwyIM.aspx&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no.42 [[Media:Carving.pptx|Traditional Crafts: Carving]] by 唐启洲&lt;br /&gt;
https://ks.wjx.top/vj/PpNbr3j.aspx&lt;br /&gt;
&lt;br /&gt;
4. (?) Chinese Astrology（杜心语）Classroom presentation no.39 [[Media:Astrology.pptx|Chinese Astrology: Chinese Astrology]] by Du Xinyu 杜心语, quiz: https://ks.wjx.top/vj/Q0MUUEL.aspx 依旧待定&lt;br /&gt;
&lt;br /&gt;
==Session 16 (June 16,2021): Landscapes and tourism: Tourism, Nanjing-An Ancient Capital of Six Dynasties;Garden Culture: Qingming Riverside Landscspe Garden;  Traditional Crafts: Handcraft - Chinese Knots ==&lt;br /&gt;
&lt;br /&gt;
===Presentations June 16===&lt;br /&gt;
&lt;br /&gt;
'''Teacher presentation''' &lt;br /&gt;
&lt;br /&gt;
[[Media:16_Foundation_Chin_Cult.pptx|Powerpoint for 16h session on June 16 by Martin Woesler]]&lt;br /&gt;
&lt;br /&gt;
'''Student presentations'''&lt;br /&gt;
&lt;br /&gt;
1. Classroom presentation no.43 [[Media:Chinese_Characters.pptx|Landscapes and tourism: Tourism, Nanjing-An Ancient Capital of Six Dynasties]] by邓丹&lt;br /&gt;
&lt;br /&gt;
2. Classroom presentation no.44 [[Media:Qingming Riverside Landscape Garden.pptx|Garden Culture: Qingming Riverside Landscspe Garden]] by 吴欣欣&lt;br /&gt;
&lt;br /&gt;
3. Classroom presentation no.45 [[Media:Crafts.pptx| Traditional Crafts: Handcraft - Chinese Knots]] by 丁仲夏&lt;br /&gt;
&lt;br /&gt;
==Final Exam Paper (deadline June &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;, 2021)==&lt;br /&gt;
The final exam paper makes 60% of the total grade. You can start to write your paper now. Fellow students are allowed and encouraged to correct your mistakes.&lt;br /&gt;
&lt;br /&gt;
Please write a new chapter (approximately 5,000 English characters/letters) in the course book, explaining an element of Chinese culture. Please use the structure you know from the textbook: Text (please make paragraphs no longer than 3 sentences. Please indicate at least 1 reference per paragraph), Terms (English and Chinese), Questions (multiple choice, please also provide the answers), References&lt;br /&gt;
&lt;br /&gt;
You can write your final exam paper here [[20210601_culture|here]]&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123054</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123054"/>
		<updated>2021-06-15T10:10:59Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Questions */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
&lt;br /&gt;
==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
&lt;br /&gt;
1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
&lt;br /&gt;
=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
&lt;br /&gt;
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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
&lt;br /&gt;
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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Frolics of the Five Animals&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Frolics of the Five Animals&amp;quot; is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the &amp;quot;Five Animal-Frolics&amp;quot; can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.What kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the characteristics of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123047</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123047"/>
		<updated>2021-06-15T10:00:55Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Benefits */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Frolics of the Five Animals&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Frolics of the Five Animals&amp;quot; is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the &amp;quot;Five Animal-Frolics&amp;quot; can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123045</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123045"/>
		<updated>2021-06-15T09:52:15Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123043</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123043"/>
		<updated>2021-06-15T09:48:07Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123042</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123042"/>
		<updated>2021-06-15T09:44:09Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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 needs 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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123041</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123041"/>
		<updated>2021-06-15T09:37:49Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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 stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)&lt;br /&gt;
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The tiger is an animal that is known 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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123040</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123040"/>
		<updated>2021-06-15T09:31:00Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Founder */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123039</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123039"/>
		<updated>2021-06-15T09:28:06Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Founder */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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 application 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. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. 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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123035</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=123035"/>
		<updated>2021-06-15T09:17:03Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Introduction */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
Frolics of animals 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 a high reputation all over the world. (Anhui Tourism Administration)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“Cui,” which 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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122988</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122988"/>
		<updated>2021-06-14T16:56:30Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Answers */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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1.Hua Tuo.&lt;br /&gt;
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2.Tiger; Deer; Bear; Apt; Crane.&lt;br /&gt;
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3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.&lt;br /&gt;
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4.The ape exercise is externally dynamic and internally static.&lt;br /&gt;
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5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122987</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122987"/>
		<updated>2021-06-14T16:55:29Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Questions */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
&lt;br /&gt;
==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
&lt;br /&gt;
1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
&lt;br /&gt;
=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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1.Who is the founder of Wuqinxi?&lt;br /&gt;
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2.What kinds of animals do Wuqinxi imitate?&lt;br /&gt;
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3.What does the crane symbolize in traditional Chinese culture?&lt;br /&gt;
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4.Which kind of play is externally dynamic and internally static?&lt;br /&gt;
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5.What are the features of the deer?&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122986</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122986"/>
		<updated>2021-06-14T16:44:09Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026  =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122983</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122983"/>
		<updated>2021-06-14T16:39:46Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* References */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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)&lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm&lt;br /&gt;
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[2]&amp;quot;Hua Tuo&amp;quot; by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.&lt;br /&gt;
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[3] Traditional Chinese Medicine History - Han Dynasty  By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html&lt;br /&gt;
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[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101. &lt;br /&gt;
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[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195&lt;br /&gt;
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[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79&lt;br /&gt;
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[7] Five Animal Frolics&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122981</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122981"/>
		<updated>2021-06-14T16:37:53Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Terms and Expressions */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma 哮喘&lt;br /&gt;
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high blood pressure 高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122978</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122978"/>
		<updated>2021-06-14T16:37:19Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Benefits */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
&lt;br /&gt;
Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
&lt;br /&gt;
Chronic illness 慢性疾病&lt;br /&gt;
&lt;br /&gt;
Arthritis 关节炎&lt;br /&gt;
&lt;br /&gt;
Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
&lt;br /&gt;
Asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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(Five Animal Frolics)&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma哮喘&lt;br /&gt;
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high blood pressure高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
&lt;br /&gt;
=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122975</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122975"/>
		<updated>2021-06-14T16:36:29Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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)&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
&lt;br /&gt;
Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
&lt;br /&gt;
Chronic illness 慢性疾病&lt;br /&gt;
&lt;br /&gt;
Arthritis 关节炎&lt;br /&gt;
&lt;br /&gt;
Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
&lt;br /&gt;
Asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
Bronchitis 支气管炎&lt;br /&gt;
&lt;br /&gt;
Emphysema 肺气肿&lt;br /&gt;
&lt;br /&gt;
Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
&lt;br /&gt;
== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
&lt;br /&gt;
3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
&lt;br /&gt;
4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
&lt;br /&gt;
2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
&lt;br /&gt;
3. Around 1670.&lt;br /&gt;
&lt;br /&gt;
4. Yang Style.&lt;br /&gt;
&lt;br /&gt;
5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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 together downward.  The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
&lt;br /&gt;
== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma哮喘&lt;br /&gt;
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high blood pressure高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
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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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
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[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
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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).&lt;br /&gt;
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==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
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Neolithic Age 新石器时代&lt;br /&gt;
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Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
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Die in one’s bed 寿终正寝&lt;br /&gt;
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The Rites of Zhou 周礼&lt;br /&gt;
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The Book of Rites 礼记&lt;br /&gt;
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Immortality of the soul 灵魂不灭&lt;br /&gt;
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Maishui 买水&lt;br /&gt;
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Being buried to rest 入土为安&lt;br /&gt;
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Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122953</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122953"/>
		<updated>2021-06-14T15:49:38Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Founder */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
&lt;br /&gt;
Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
&lt;br /&gt;
Chronic illness 慢性疾病&lt;br /&gt;
&lt;br /&gt;
Arthritis 关节炎&lt;br /&gt;
&lt;br /&gt;
Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
&lt;br /&gt;
Asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
Bronchitis 支气管炎&lt;br /&gt;
&lt;br /&gt;
Emphysema 肺气肿&lt;br /&gt;
&lt;br /&gt;
Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
&lt;br /&gt;
== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
&lt;br /&gt;
3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
&lt;br /&gt;
4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
&lt;br /&gt;
2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
&lt;br /&gt;
3. Around 1670.&lt;br /&gt;
&lt;br /&gt;
4. Yang Style.&lt;br /&gt;
&lt;br /&gt;
5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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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: &amp;quot;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.)&lt;br /&gt;
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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)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma哮喘&lt;br /&gt;
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high blood pressure高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
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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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
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[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
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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).&lt;br /&gt;
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==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
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Neolithic Age 新石器时代&lt;br /&gt;
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Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
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Die in one’s bed 寿终正寝&lt;br /&gt;
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The Rites of Zhou 周礼&lt;br /&gt;
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The Book of Rites 礼记&lt;br /&gt;
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Immortality of the soul 灵魂不灭&lt;br /&gt;
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Maishui 买水&lt;br /&gt;
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Being buried to rest 入土为安&lt;br /&gt;
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Burial in Earth 土葬&lt;br /&gt;
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Cremation 火葬&lt;br /&gt;
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Sky Burial \ Celestial burial 天葬&lt;br /&gt;
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Water Burial 水葬&lt;br /&gt;
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Bird-giving 施鸟&lt;br /&gt;
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Water burial of whole bodies 整尸水葬&lt;br /&gt;
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Water burial of separated bodies 分尸水葬&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
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5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
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8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
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6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
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7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
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8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
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[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];&lt;br /&gt;
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[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122943</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122943"/>
		<updated>2021-06-14T15:27:46Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
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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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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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)&lt;br /&gt;
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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. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma哮喘&lt;br /&gt;
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high blood pressure高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
&lt;br /&gt;
②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
&lt;br /&gt;
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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
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		<title>20210601 culture5</title>
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		<updated>2021-06-14T15:16:37Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
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&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma哮喘&lt;br /&gt;
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high blood pressure高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122937</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122937"/>
		<updated>2021-06-14T15:13:21Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Terms and Expressions */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
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Hua Tuo 华佗&lt;br /&gt;
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Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
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Chi-kung 气功&lt;br /&gt;
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the Tiger Frolics 虎戏&lt;br /&gt;
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the Deer Frolics 鹿戏&lt;br /&gt;
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the Bear Frolics 熊戏&lt;br /&gt;
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the Ape Frolics 猿戏&lt;br /&gt;
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the Crane Frolics 鹤戏&lt;br /&gt;
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curing lung diseases 肺病&lt;br /&gt;
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asthma哮喘&lt;br /&gt;
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high blood pressure高血压&lt;br /&gt;
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indigestion 消化不良&lt;br /&gt;
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to move blood and Qi 活血益气&lt;br /&gt;
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to regulate the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122935</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122935"/>
		<updated>2021-06-14T15:12:24Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Terms and Expressions */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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Frolics of the Five Animals 五禽戏&lt;br /&gt;
Hua Tuo 华佗&lt;br /&gt;
Chronicles of the Later Han Dynasty 《后汉书》&lt;br /&gt;
Chi-kung 气功&lt;br /&gt;
the Tiger Frolics 虎戏&lt;br /&gt;
the Deer Frolics 鹿戏&lt;br /&gt;
the Bear Frolics 熊戏&lt;br /&gt;
the Ape Frolics 猿戏&lt;br /&gt;
the Crane Frolics 鹤戏&lt;br /&gt;
curing lung diseases 肺病&lt;br /&gt;
asthma哮喘&lt;br /&gt;
high blood pressure高血压&lt;br /&gt;
indigestion 消化不良&lt;br /&gt;
move blood and Qi 活血益气&lt;br /&gt;
regulating the flow of Qi and blood 理气活血&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122930</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122930"/>
		<updated>2021-06-14T15:00:34Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
&lt;br /&gt;
Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
&lt;br /&gt;
Chronic illness 慢性疾病&lt;br /&gt;
&lt;br /&gt;
Arthritis 关节炎&lt;br /&gt;
&lt;br /&gt;
Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
&lt;br /&gt;
Asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
Bronchitis 支气管炎&lt;br /&gt;
&lt;br /&gt;
Emphysema 肺气肿&lt;br /&gt;
&lt;br /&gt;
Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
&lt;br /&gt;
== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
&lt;br /&gt;
3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
&lt;br /&gt;
4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
&lt;br /&gt;
2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
&lt;br /&gt;
3. Around 1670.&lt;br /&gt;
&lt;br /&gt;
4. Yang Style.&lt;br /&gt;
&lt;br /&gt;
5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.    &lt;br /&gt;
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Awkward looking but clear in mind. It walks with lightness inside heavy steps.&lt;br /&gt;
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. &lt;br /&gt;
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)&lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
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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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
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[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
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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).&lt;br /&gt;
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==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
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Neolithic Age 新石器时代&lt;br /&gt;
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Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
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Die in one’s bed 寿终正寝&lt;br /&gt;
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The Rites of Zhou 周礼&lt;br /&gt;
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The Book of Rites 礼记&lt;br /&gt;
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Immortality of the soul 灵魂不灭&lt;br /&gt;
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Maishui 买水&lt;br /&gt;
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Being buried to rest 入土为安&lt;br /&gt;
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Burial in Earth 土葬&lt;br /&gt;
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Cremation 火葬&lt;br /&gt;
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Sky Burial \ Celestial burial 天葬&lt;br /&gt;
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Water Burial 水葬&lt;br /&gt;
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Bird-giving 施鸟&lt;br /&gt;
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Water burial of whole bodies 整尸水葬&lt;br /&gt;
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Water burial of separated bodies 分尸水葬&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
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2.What made detailed stipulations on funeral rites?&lt;br /&gt;
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3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
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4.What is the first step of traditional funeral process?&lt;br /&gt;
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5.What is the last step of traditional funeral process?&lt;br /&gt;
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6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
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7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
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8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
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==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
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2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
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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.&lt;br /&gt;
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4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
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5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122924</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122924"/>
		<updated>2021-06-14T14:54:48Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Introduction */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
&lt;br /&gt;
Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
&lt;br /&gt;
Chronic illness 慢性疾病&lt;br /&gt;
&lt;br /&gt;
Arthritis 关节炎&lt;br /&gt;
&lt;br /&gt;
Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
&lt;br /&gt;
Asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
Bronchitis 支气管炎&lt;br /&gt;
&lt;br /&gt;
Emphysema 肺气肿&lt;br /&gt;
&lt;br /&gt;
Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
&lt;br /&gt;
== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
&lt;br /&gt;
3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
&lt;br /&gt;
4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
&lt;br /&gt;
2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
&lt;br /&gt;
4. Yang Style.&lt;br /&gt;
&lt;br /&gt;
5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
&lt;br /&gt;
②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
&lt;br /&gt;
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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
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		<summary type="html">&lt;p&gt;Wu Xinxin: /* Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) */&lt;/p&gt;
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&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|400px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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== '''Terms and Expressions''' ==&lt;br /&gt;
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== '''Questions''' ==&lt;br /&gt;
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== '''Answers''' ==&lt;br /&gt;
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== '''References''' ==&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
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		<title>20210601 culture5</title>
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		<summary type="html">&lt;p&gt;Wu Xinxin: /* Introduction */&lt;/p&gt;
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&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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[[File:wuhuhu.jpg|400px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&amp;amp;fm=26&amp;amp;gp=0.jpg）]]&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122910</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122910"/>
		<updated>2021-06-14T14:32:35Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Benefits */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
&lt;br /&gt;
Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
&lt;br /&gt;
Chronic illness 慢性疾病&lt;br /&gt;
&lt;br /&gt;
Arthritis 关节炎&lt;br /&gt;
&lt;br /&gt;
Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
&lt;br /&gt;
Asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
Bronchitis 支气管炎&lt;br /&gt;
&lt;br /&gt;
Emphysema 肺气肿&lt;br /&gt;
&lt;br /&gt;
Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
&lt;br /&gt;
== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
&lt;br /&gt;
3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
&lt;br /&gt;
4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
&lt;br /&gt;
2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
&lt;br /&gt;
3. Around 1670.&lt;br /&gt;
&lt;br /&gt;
4. Yang Style.&lt;br /&gt;
&lt;br /&gt;
5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''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.&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
&lt;br /&gt;
②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
&lt;br /&gt;
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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
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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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
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[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
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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).&lt;br /&gt;
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==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
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Neolithic Age 新石器时代&lt;br /&gt;
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Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
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Die in one’s bed 寿终正寝&lt;br /&gt;
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The Rites of Zhou 周礼&lt;br /&gt;
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The Book of Rites 礼记&lt;br /&gt;
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Immortality of the soul 灵魂不灭&lt;br /&gt;
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Maishui 买水&lt;br /&gt;
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Being buried to rest 入土为安&lt;br /&gt;
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Burial in Earth 土葬&lt;br /&gt;
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Cremation 火葬&lt;br /&gt;
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Sky Burial \ Celestial burial 天葬&lt;br /&gt;
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Water Burial 水葬&lt;br /&gt;
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Bird-giving 施鸟&lt;br /&gt;
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Water burial of whole bodies 整尸水葬&lt;br /&gt;
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Water burial of separated bodies 分尸水葬&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
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5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
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8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
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6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
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7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
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8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
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[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122884</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122884"/>
		<updated>2021-06-14T14:01:25Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
&lt;br /&gt;
4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''Crane''' - to develop balance, lightness and agility. The Crain cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
&lt;br /&gt;
②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
&lt;br /&gt;
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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122882</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122882"/>
		<updated>2021-06-14T13:58:55Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
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This is the the first page with the final exam papers.&lt;br /&gt;
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Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
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=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
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=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
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= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
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== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
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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)&lt;br /&gt;
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== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
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''' (1) Chen Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (2) Yang Style '''&lt;br /&gt;
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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. &lt;br /&gt;
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''' (3) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (4) Wu Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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''' (5) Sun Style '''&lt;br /&gt;
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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.&lt;br /&gt;
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== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
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''' (1) Physical and Mental Health '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (2) Balance and Fall Prevention '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (3) Strength and Endurance '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (4) Chronic Illness Prevention '''&lt;br /&gt;
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Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
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''' (5) Respiratory System Regulation '''&lt;br /&gt;
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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)&lt;br /&gt;
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''' (6) Aerobic Capacity '''&lt;br /&gt;
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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)&lt;br /&gt;
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== Terms and Expressions ==&lt;br /&gt;
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Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
[[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&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''Crane''' - to develop balance, lightness and agility. The Crain cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
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		<summary type="html">&lt;p&gt;Wu Xinxin: &lt;/p&gt;
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		<summary type="html">&lt;p&gt;Wu Xinxin: /* Frolics of the Five Animals */&lt;/p&gt;
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&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
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The Book of Changes 《易经》&lt;br /&gt;
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Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
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Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
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Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
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Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
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Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
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Chronic illness 慢性疾病&lt;br /&gt;
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Arthritis 关节炎&lt;br /&gt;
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Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
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Asthma 哮喘&lt;br /&gt;
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Bronchitis 支气管炎&lt;br /&gt;
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Emphysema 肺气肿&lt;br /&gt;
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Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
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== Questions ==&lt;br /&gt;
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1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
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2. What are the 5 main types of Tai Chi?&lt;br /&gt;
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3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
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4. Which Tai Chi style is the most popular?&lt;br /&gt;
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5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
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6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
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7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
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1. Taoism.‬&lt;br /&gt;
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2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
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3. Around 1670.&lt;br /&gt;
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4. Yang Style.&lt;br /&gt;
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5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
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6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
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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.&lt;br /&gt;
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== References ==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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. &lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
[[File:ple.jpg|200px|left|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&amp;amp;refer=http%3A%2F%2Fn.sinaimg.cn&amp;amp;app=2002&amp;amp;size=f9999,10000&amp;amp;q=a80&amp;amp;n=0&amp;amp;g=0n&amp;amp;fmt=jpeg?sec=1626271004&amp;amp;t=48422f584b1ce63147f40e5808b5b4c2)]]&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''Crane''' - to develop balance, lightness and agility. The Crain cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
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(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
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②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
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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]&lt;br /&gt;
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④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
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⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
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⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
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⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
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⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
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==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
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Empress XiaoDuan 孝端皇后&lt;br /&gt;
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Han Feizi 韩非子&lt;br /&gt;
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The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
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Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
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Miscellaneous Ploys 《杂伎》&lt;br /&gt;
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Information《永遇乐》&lt;br /&gt;
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hard kingfisher feathers 硬翠&lt;br /&gt;
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soft kingfisher feathers 软翠&lt;br /&gt;
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base 首饰胎底&lt;br /&gt;
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tin flower headdress 钿花&lt;br /&gt;
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Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
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Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
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==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
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2.When did kingfisher craft origin?&lt;br /&gt;
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3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
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4.When did kingfisher craft reach its peak?&lt;br /&gt;
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5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
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6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
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7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
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2.in the Tang Dynasty&lt;br /&gt;
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3.the Song Dynasty&lt;br /&gt;
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4.in the Qing Dynasty&lt;br /&gt;
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5.They are hard and soft kingfisher feathers.&lt;br /&gt;
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6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
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7.five&lt;br /&gt;
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=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
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[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
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'''(3) Bathing the dead.'''&lt;br /&gt;
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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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
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[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
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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).&lt;br /&gt;
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'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
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'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
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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).&lt;br /&gt;
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'''(8) Going into the coffin.'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
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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).&lt;br /&gt;
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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).&lt;br /&gt;
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==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
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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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
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'''2. Cremation'''&lt;br /&gt;
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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).&lt;br /&gt;
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[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
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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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
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[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
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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).&lt;br /&gt;
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==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
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Neolithic Age 新石器时代&lt;br /&gt;
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Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
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Die in one’s bed 寿终正寝&lt;br /&gt;
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The Rites of Zhou 周礼&lt;br /&gt;
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The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；&lt;br /&gt;
&lt;br /&gt;
[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].&lt;/div&gt;</summary>
		<author><name>Wu Xinxin</name></author>
	</entry>
	<entry>
		<id>https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122868</id>
		<title>20210601 culture5</title>
		<link rel="alternate" type="text/html" href="https://bou.de/u/index.php?title=20210601_culture5&amp;diff=122868"/>
		<updated>2021-06-14T13:53:09Z</updated>

		<summary type="html">&lt;p&gt;Wu Xinxin: /* Founder */&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 &amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;15&amp;lt;/span&amp;gt;'''&lt;br /&gt;
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].&lt;br /&gt;
*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]].&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like &amp;quot;Longevity Noodles&amp;quot;) or Text B (&amp;quot;Mooncakes&amp;quot;), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title (&amp;quot;Festival Meals&amp;quot;) and arrange it accordingly.&lt;br /&gt;
*In the topic, please write the category, then the topic - your name and student no.&lt;br /&gt;
*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. &lt;br /&gt;
*Add a section at the end called &amp;quot;References&amp;quot;. 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.&lt;br /&gt;
*Please also add a list &amp;quot;Terms and Expressions&amp;quot;.&lt;br /&gt;
*Please add a &amp;quot;Questions&amp;quot; section.&lt;br /&gt;
*Please add a &amp;quot;Answers&amp;quot; section.&lt;br /&gt;
&lt;br /&gt;
This is the the first page with the final exam papers.&lt;br /&gt;
&lt;br /&gt;
Please write another chapter of the textbook on any cultural phenomenon in China.&lt;br /&gt;
&lt;br /&gt;
=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)&lt;br /&gt;
&lt;br /&gt;
=Wang Zihan 王子涵= Tai Chi（Taijiquan）&lt;br /&gt;
&lt;br /&gt;
= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =&lt;br /&gt;
&lt;br /&gt;
== Introduction ==&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Major Styles ==&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (1) Chen Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (2) Yang Style '''&lt;br /&gt;
&lt;br /&gt;
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. &lt;br /&gt;
&lt;br /&gt;
''' (3) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (4) Wu Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
''' (5) Sun Style '''&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== Health Benefits ==&lt;br /&gt;
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:&lt;br /&gt;
&lt;br /&gt;
''' (1) Physical and Mental Health '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (2) Balance and Fall Prevention '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (3) Strength and Endurance '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (4) Chronic Illness Prevention '''&lt;br /&gt;
&lt;br /&gt;
Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)&lt;br /&gt;
&lt;br /&gt;
''' (5) Respiratory System Regulation '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
''' (6) Aerobic Capacity '''&lt;br /&gt;
&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
== Terms and Expressions ==&lt;br /&gt;
&lt;br /&gt;
Tai Chi 太极拳&lt;br /&gt;
&lt;br /&gt;
The Book of Changes 《易经》&lt;br /&gt;
&lt;br /&gt;
Chen Style 陈式太极拳（陈王廷）&lt;br /&gt;
&lt;br /&gt;
Yang Style 杨式太极拳（杨露禅）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 1st) 武式太极拳（武禹襄）&lt;br /&gt;
&lt;br /&gt;
Wu Style (the 2nd) 吴式太极拳（吴鉴泉）&lt;br /&gt;
&lt;br /&gt;
Sun Style 孙式太极拳（孙禄堂）&lt;br /&gt;
&lt;br /&gt;
Chronic illness 慢性疾病&lt;br /&gt;
&lt;br /&gt;
Arthritis 关节炎&lt;br /&gt;
&lt;br /&gt;
Digestive disorders 消化不良;消化疾病;消化系统紊乱&lt;br /&gt;
&lt;br /&gt;
Asthma 哮喘&lt;br /&gt;
&lt;br /&gt;
Bronchitis 支气管炎&lt;br /&gt;
&lt;br /&gt;
Emphysema 肺气肿&lt;br /&gt;
&lt;br /&gt;
Aerobic capacity 有氧能力;有氧运动能力&lt;br /&gt;
&lt;br /&gt;
== Questions ==&lt;br /&gt;
&lt;br /&gt;
1. What ancient Chinese philosophy is Tai Chi based on?&lt;br /&gt;
&lt;br /&gt;
2. What are the 5 main types of Tai Chi?&lt;br /&gt;
&lt;br /&gt;
3. When did Chen Wangting develop the Chen Style Tai Chi?&lt;br /&gt;
&lt;br /&gt;
4. Which Tai Chi style is the most popular?&lt;br /&gt;
&lt;br /&gt;
5. What are the characteristics of Wu Style (the 2nd Wu Style)?&lt;br /&gt;
&lt;br /&gt;
6. How many benefits of Tai Chi are mentioned in this article? What are they?&lt;br /&gt;
&lt;br /&gt;
7. Why is Tai Chi good for balance and fall prevention?&lt;br /&gt;
&lt;br /&gt;
== Answers ==&lt;br /&gt;
&lt;br /&gt;
1. Taoism.‬&lt;br /&gt;
&lt;br /&gt;
2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.&lt;br /&gt;
&lt;br /&gt;
3. Around 1670.&lt;br /&gt;
&lt;br /&gt;
4. Yang Style.&lt;br /&gt;
&lt;br /&gt;
5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.&lt;br /&gt;
&lt;br /&gt;
6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
== References ==&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
[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.&lt;br /&gt;
&lt;br /&gt;
=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Introduction==&lt;br /&gt;
[[File:&amp;quot;shu&amp;quot;.jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
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&amp;quot;Shu&amp;quot;  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 &amp;quot;Shu&amp;quot; looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character &amp;quot;Shu&amp;quot; also had the image of silkworm, which obviously expressed the relationship between &amp;quot;Shu&amp;quot; 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)&lt;br /&gt;
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==History and Development==&lt;br /&gt;
Shu embroidery, also called &amp;quot;Sichuan embroidery&amp;quot;, 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 &amp;quot;Chinese four famous embroidery&amp;quot;. &lt;br /&gt;
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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 &amp;quot;brocade stitch&amp;quot; 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. &lt;br /&gt;
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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).&lt;br /&gt;
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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.&lt;br /&gt;
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==Characteristics==&lt;br /&gt;
===1. Material Selection===&lt;br /&gt;
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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)&lt;br /&gt;
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===2. Embroidery Techniques===&lt;br /&gt;
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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 &amp;quot;Yi Jin Thread&amp;quot; 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)&lt;br /&gt;
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===3. Classic Patterns===&lt;br /&gt;
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&amp;amp;rs=1)]]&lt;br /&gt;
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[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&amp;amp;riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&amp;amp;ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&amp;amp;riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&amp;amp;ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&amp;amp;risl=&amp;amp;pid=ImgRaw]]&lt;br /&gt;
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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.&lt;br /&gt;
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))&lt;br /&gt;
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===4. Color Matching===&lt;br /&gt;
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&amp;amp;riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&amp;amp;ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&amp;amp;risl=&amp;amp;pid=ImgRaw)]]&lt;br /&gt;
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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)&lt;br /&gt;
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==Current Situation and Inheritance==&lt;br /&gt;
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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)&lt;br /&gt;
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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)&lt;br /&gt;
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==References==&lt;br /&gt;
*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&lt;br /&gt;
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020 &lt;br /&gt;
*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 &lt;br /&gt;
*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&lt;br /&gt;
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017&lt;br /&gt;
*Yang Dequan杨德全(2020)《现代艺术》&amp;quot;文艺百家&amp;quot;工程·文艺讲坛Modern Art&amp;quot; &amp;quot;100 Artists of Literature and Art&amp;quot; Project - Literature and Art Forum(7),2020,110-115&lt;br /&gt;
*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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
Origin of Chinese Characters 说文解字&lt;br /&gt;
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central Plains Embroidery School 中原绣派&lt;br /&gt;
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cross-stitch work 挑花&lt;br /&gt;
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drawnwork 抽纱绣&lt;br /&gt;
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cottage handmade 家庭手工制作&lt;br /&gt;
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market-oriented management 市场化经营&lt;br /&gt;
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subject mater 题材&lt;br /&gt;
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silk 绸&lt;br /&gt;
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satin 缎 &lt;br /&gt;
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spun silk 绢&lt;br /&gt;
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yarn 纱&lt;br /&gt;
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crepe 绉&lt;br /&gt;
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Stitch 针法&lt;br /&gt;
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single-sided embroidery 单面绣&lt;br /&gt;
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double-sided embroidery 双面绣&lt;br /&gt;
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double-sided triple-variant embroidery 双面三异绣&lt;br /&gt;
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the overlay color matching method 套色配色法&lt;br /&gt;
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the single-color matching method 单色配色法&lt;br /&gt;
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the upper five-color matching method  上五彩配色法&lt;br /&gt;
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the lower five-color matching method 下五彩配色法&lt;br /&gt;
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back-up talents 后备人才&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1. When and where did Shu embroidery came into being?&lt;br /&gt;
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2. What are the common used stitches of Shu embroidery?&lt;br /&gt;
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3. What are the classic patterns of Shu embroidery?&lt;br /&gt;
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4. How should Shu embroidery be inherited?&lt;br /&gt;
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==Answers==&lt;br /&gt;
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1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.&lt;br /&gt;
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2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.&lt;br /&gt;
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3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.&lt;br /&gt;
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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&lt;br /&gt;
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=Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals) =&lt;br /&gt;
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== '''Introduction''' ==&lt;br /&gt;
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)&lt;br /&gt;
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== '''Founder''' ==&lt;br /&gt;
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[[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)]]&lt;br /&gt;
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Hua Tuo was born around 110 CE, 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. He was an older contemporary of China's famous herbalist Zhang Zhongjing. In the Chronicles of the Later Han Dynasty, it is said that: &amp;quot;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.)&lt;br /&gt;
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Hua Tuo also named Yuan Hua of Hao county in Anwei province, was the first famous Chinese surgeon.  He is the first in the world to developed the use of anesthesia, and furthered the limited Chinese knowledge of anatomy.  When using acupuncture and herbs, he preferred simple methods, using a small number of acupuncture points and formulas comprised of only a few herbs. He practiced Chi-kung and created the &amp;quot;Frolics of the Five Animals.(Chinese Medicine History)&lt;br /&gt;
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== '''Frolics of the Five Animals''' ==&lt;br /&gt;
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'''Tiger'''&lt;br /&gt;
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Each Qigong teacher repeats what they first learned, or creates their own set of Tiger Frolic movements from the dozens of different movement sets available. Nobody really knows the exact movements of the original Tiger Frolics set created by Hua Tuo in the second century CE. Most Tiger Frolics sets have 3 to 5 movements in the set. &lt;br /&gt;
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All Tiger sets feature the hands in a Tiger Claw: open fingers, rounded, tensed, as if the tiger or cat were reaching with their claws extended.  The eyes are often focused and &amp;quot;fierce&amp;quot; in intention. Stepping into lunge postures are a common feature of Tiger Frolic movement sets. The Tiger Frolics emphasize muscular force and tendon power.&lt;br /&gt;
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This version of the Tiger Frolics movements are taken from a number of different Tiger Frolics Qigong sets.&lt;br /&gt;
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Feet together.  Stand up straight.  Arms at sides.  [1a]&lt;br /&gt;
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Bring hands to waist level with tiger claw hands (fingers open and curled).&lt;br /&gt;
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Step out to right side at a 45 degree angle with the right leg. [1b]  Step into a high lunge posture.  [1c]&lt;br /&gt;
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As the right foot lifts and steps to the side [1b], draw both hands up the body to above the head, lift the head, circling both arms up and down. [1b]&lt;br /&gt;
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As the right foot comes to the floor (ground), both hands, separated by a foot or so, claw downward to about waist level.  [1c]&lt;br /&gt;
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Draw the arms back to the waist (as if pulling the captured prey close to your Tiger body) [1d] as the right foot is drawn back to beside the left foot.  [1e]&lt;br /&gt;
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Repeat this movement on the right side 4 to 8 repetitions. &lt;br /&gt;
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(Movement source citation:  Tiger Frolic #3, Big Lunge.  UTube Video, 1:34 minutes.  Performed by Anson Rathbone, 2007.  As taught by Deguang at NESA's Medical Qigong Class. )&lt;br /&gt;
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'''Deer'''&lt;br /&gt;
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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.(Five Animal Frolics)&lt;br /&gt;
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'''Bear'''&lt;br /&gt;
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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 &amp;quot;clawing.&amp;quot;  Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body. &lt;br /&gt;
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'''Ape'''&lt;br /&gt;
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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 &amp;quot;Ape Play&amp;quot; is to reach a level of &amp;quot;pure and tranquil in thoughts, light but strong body, and &amp;quot;body is moving but mind is calm&amp;quot;. 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)&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)&lt;br /&gt;
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'''Crane'''&lt;br /&gt;
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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.&lt;br /&gt;
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)&lt;br /&gt;
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== '''Benefits''' ==&lt;br /&gt;
The &amp;quot;Five Animal-Frolics&amp;quot; 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. &lt;br /&gt;
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 &amp;quot;Five Animal-Frolics&amp;quot; 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 &amp;quot;Five Animal-Frolics&amp;quot; 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.&lt;br /&gt;
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'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.&lt;br /&gt;
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'''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.&lt;br /&gt;
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'''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. &lt;br /&gt;
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'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.&lt;br /&gt;
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'''Crane''' - to develop balance, lightness and agility. The Crain cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.&lt;br /&gt;
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=Yāo Yáng 么阳=&lt;br /&gt;
Chinese traditional cultivation culture&lt;br /&gt;
&amp;lt;span style=&amp;quot;color:red&amp;quot;&amp;gt;ok&amp;lt;/span&amp;gt;&lt;br /&gt;
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=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=&lt;br /&gt;
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== '''1.Overview''' ==&lt;br /&gt;
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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.&lt;br /&gt;
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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)&lt;br /&gt;
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=='''2.Authorship'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''3.The Mythical Creatures Within the Book'''==&lt;br /&gt;
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)&lt;br /&gt;
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)&lt;br /&gt;
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Here are some images and brief introductions to the mythical creatures within the book.&lt;br /&gt;
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[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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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.&lt;br /&gt;
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[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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Fish Man, a mermaid, specialized in weaving waterproof silk fabric. &lt;br /&gt;
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. &lt;br /&gt;
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[[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&amp;amp;ssl=1)]]&lt;br /&gt;
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A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.&lt;br /&gt;
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[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.&lt;br /&gt;
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[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A Chinese unicorn called Quanshu.&lt;br /&gt;
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[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&amp;amp;ssl=1)]]&lt;br /&gt;
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A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.&lt;br /&gt;
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=='''4.Changes in the Status'''==&lt;br /&gt;
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)&lt;br /&gt;
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=='''5.Influences on Chinese Literature'''==&lt;br /&gt;
''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)&lt;br /&gt;
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==References==&lt;br /&gt;
[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[4]Yang Xinhui &amp;amp; Luo Dahe杨兴慧 &amp;amp; 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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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.&lt;br /&gt;
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[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&lt;br /&gt;
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==Terms and Expressions==&lt;br /&gt;
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》&lt;br /&gt;
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Mountains 《山经》&lt;br /&gt;
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Regions Beyond Seas 《海外经》&lt;br /&gt;
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Regions Within Seas 《海内经》&lt;br /&gt;
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Wilderness 《大荒经》&lt;br /&gt;
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Yu the Great 大禹&lt;br /&gt;
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Bo Yi 伯益&lt;br /&gt;
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modern Sinologist现代汉学家&lt;br /&gt;
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nine-tailed white fox 九尾白狐&lt;br /&gt;
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Tushan Shi 涂山氏&lt;br /&gt;
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Fish Man 鲛人&lt;br /&gt;
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mermaid 美人鱼&lt;br /&gt;
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waterproof silk fabric鲛纱&lt;br /&gt;
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Supernatural Beings 《搜神记》&lt;br /&gt;
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Mt. Zhongshan 中山神&lt;br /&gt;
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Zheng 狰&lt;br /&gt;
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Quanshu 䑏疏&lt;br /&gt;
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Jufu 举父&lt;br /&gt;
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==Questions==&lt;br /&gt;
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1.How many sections is the classic divided into?  &lt;br /&gt;
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2.What does the book describe? &lt;br /&gt;
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3.How is the book arranged?&lt;br /&gt;
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4.How was this book created? &lt;br /&gt;
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5.What makes a great difference on the change of the status of this book?&lt;br /&gt;
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== Answers ==&lt;br /&gt;
1. 18sections&lt;br /&gt;
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2.It describes over 550 mountains and 300 channels.&lt;br /&gt;
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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.&lt;br /&gt;
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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.&lt;br /&gt;
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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. &lt;br /&gt;
These brought a fundamental change in the status of ''the Classic''.&lt;br /&gt;
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=Yuán Jìng 袁静 Kingfisher Craft点翠 =&lt;br /&gt;
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==Introduction==&lt;br /&gt;
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]&lt;br /&gt;
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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. &amp;lt;③ P4）&lt;br /&gt;
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==Meaning==&lt;br /&gt;
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]&lt;br /&gt;
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“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. &amp;lt;①&amp;gt;&lt;br /&gt;
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==History==&lt;br /&gt;
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, &amp;quot;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.&amp;quot;&lt;br /&gt;
&amp;quot;( 《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 &amp;quot;feathers of kingfishers&amp;quot; first recorded products of kingfisher craft.&amp;lt;③ P22&amp;gt;&lt;br /&gt;
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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, &amp;quot;with jadeite of feathers, with white beads underneath, hanging gold hairpin.&amp;quot; (《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 &amp;quot;jadeite of feathers&amp;quot; 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.&amp;quot; (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. &amp;lt;③ P24&amp;gt;&lt;br /&gt;
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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, &amp;quot;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.&amp;quot; (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. &amp;lt;③ P28&amp;gt;&lt;br /&gt;
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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 &amp;quot;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.&amp;quot; (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. &amp;lt;③ P32&amp;gt;&lt;br /&gt;
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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 &amp;quot;Nine Dragons and Nine Phoenixes Crown&amp;quot; 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. &amp;lt;③ P34/P35&amp;gt;&lt;br /&gt;
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]&lt;br /&gt;
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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. &amp;lt;③ P38&amp;gt;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 &amp;quot;kingfisher artisan&amp;quot; in charge of this craft. &amp;lt;③ P41&amp;gt;&lt;br /&gt;
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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 . &amp;lt;②&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Characteristics==&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
&lt;br /&gt;
==Classification==&lt;br /&gt;
(1) Hard kingfisher feathers&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
(2) Soft kingfisher feathers&lt;br /&gt;
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. &amp;lt;①&amp;gt;&lt;br /&gt;
==Making Process==&lt;br /&gt;
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. &amp;lt;③ P76-82&amp;gt;&lt;br /&gt;
==References==&lt;br /&gt;
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]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html&lt;br /&gt;
&lt;br /&gt;
②Hu Jie 胡洁 《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]&lt;br /&gt;
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html&lt;br /&gt;
&lt;br /&gt;
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]&lt;br /&gt;
&lt;br /&gt;
④Han Feizi 韩非子 《韩非子》&lt;br /&gt;
&lt;br /&gt;
⑤Fan Ye 范晔 《后汉书》&lt;br /&gt;
&lt;br /&gt;
⑥Cao Zhi 曹植 《洛神赋》&lt;br /&gt;
&lt;br /&gt;
⑦Lu Guimeng 陆龟蒙 《杂伎》&lt;br /&gt;
&lt;br /&gt;
⑧Li Qingzhao 李清照 《永遇乐》&lt;br /&gt;
&lt;br /&gt;
==Expressions==&lt;br /&gt;
Kingfisher craft 点翠工艺&lt;br /&gt;
&lt;br /&gt;
Empress XiaoDuan 孝端皇后&lt;br /&gt;
&lt;br /&gt;
Han Feizi 韩非子&lt;br /&gt;
&lt;br /&gt;
The History of the Late Han Dynasty 《后汉书》&lt;br /&gt;
&lt;br /&gt;
Ode to the Goddess of the Luo River《洛神赋》&lt;br /&gt;
&lt;br /&gt;
Miscellaneous Ploys 《杂伎》&lt;br /&gt;
&lt;br /&gt;
Information《永遇乐》&lt;br /&gt;
&lt;br /&gt;
hard kingfisher feathers 硬翠&lt;br /&gt;
&lt;br /&gt;
soft kingfisher feathers 软翠&lt;br /&gt;
&lt;br /&gt;
base 首饰胎底&lt;br /&gt;
&lt;br /&gt;
tin flower headdress 钿花&lt;br /&gt;
&lt;br /&gt;
Neo-Confucianism of Cheng-Zhu 程朱理学&lt;br /&gt;
&lt;br /&gt;
Nine Dragons and Nine Phoenixes Crown 九龙九凤冠&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.What is the earliest known reference to kingfisher craft?&lt;br /&gt;
&lt;br /&gt;
2.When did kingfisher craft origin?&lt;br /&gt;
&lt;br /&gt;
3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?&lt;br /&gt;
&lt;br /&gt;
4.When did kingfisher craft reach its peak?&lt;br /&gt;
&lt;br /&gt;
5.What are the two kinds of kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?&lt;br /&gt;
&lt;br /&gt;
7.How many steps are involved in making process?&lt;br /&gt;
==Answers==&lt;br /&gt;
1.Han Feizi&lt;br /&gt;
&lt;br /&gt;
2.in the Tang Dynasty&lt;br /&gt;
&lt;br /&gt;
3.the Song Dynasty&lt;br /&gt;
&lt;br /&gt;
4.in the Qing Dynasty&lt;br /&gt;
&lt;br /&gt;
5.They are hard and soft kingfisher feathers.&lt;br /&gt;
&lt;br /&gt;
6.No, It depends on the overall quality and difficulty of the whole process.&lt;br /&gt;
&lt;br /&gt;
7.five&lt;br /&gt;
&lt;br /&gt;
=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=&lt;br /&gt;
==A. Origin and Development==&lt;br /&gt;
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]&lt;br /&gt;
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==B. Traditional Process==&lt;br /&gt;
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).&lt;br /&gt;
&lt;br /&gt;
[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]&lt;br /&gt;
'''(1) A public announcement of the death with weeping and other sad expressions.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
'''(2) Changing clothes.''' &lt;br /&gt;
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(3) Bathing the dead.'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;water obtained by praying to the gods&amp;quot; (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).&lt;br /&gt;
&lt;br /&gt;
[[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&amp;amp;thumbnail=650x2147483647&amp;amp;quality=80&amp;amp;type=jpg)]]&lt;br /&gt;
'''(4) Delivering food, money, etc. to the world of the dead.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(5) Setting the tablet.''' &lt;br /&gt;
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]&lt;br /&gt;
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)&lt;br /&gt;
&lt;br /&gt;
'''(6) Ritual use of money and hiring of professional staff.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]&lt;br /&gt;
'''(7) With music to accompany the dead, soothe the soul.''' &lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
'''(8) Going into the coffin.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&amp;amp;wfr=spider&amp;amp;for=pc)]]&lt;br /&gt;
'''(9) Buried.'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==C. Some Main Forms==&lt;br /&gt;
'''1.Burial in Earth'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;being buried to rest&amp;quot;, and the burial in earth became the most common burial style of the Han people (Jin 1996:2).&lt;br /&gt;
&lt;br /&gt;
'''2. Cremation'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]&lt;br /&gt;
'''3. Sky Burial'''&lt;br /&gt;
&lt;br /&gt;
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 &amp;quot;give&amp;quot; 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 &amp;quot;Bird-giving&amp;quot;(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 &amp;quot;the six ways of reincarnation&amp;quot; and &amp;quot;karma&amp;quot;, and especially directly influenced by the concepts of &amp;quot;mercy&amp;quot;, &amp;quot;alms&amp;quot; and &amp;quot;reincarnation&amp;quot; in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).&lt;br /&gt;
&lt;br /&gt;
[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]&lt;br /&gt;
'''4. Water Burial'''&lt;br /&gt;
&lt;br /&gt;
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).&lt;br /&gt;
&lt;br /&gt;
==Terms==&lt;br /&gt;
Paleolithic Age 旧石器时代&lt;br /&gt;
&lt;br /&gt;
Neolithic Age 新石器时代&lt;br /&gt;
&lt;br /&gt;
Beijing Zhoukoudian cavemen sites 周口店北京人遗址&lt;br /&gt;
&lt;br /&gt;
Die in one’s bed 寿终正寝&lt;br /&gt;
&lt;br /&gt;
The Rites of Zhou 周礼&lt;br /&gt;
&lt;br /&gt;
The Book of Rites 礼记&lt;br /&gt;
&lt;br /&gt;
Immortality of the soul 灵魂不灭&lt;br /&gt;
&lt;br /&gt;
Maishui 买水&lt;br /&gt;
&lt;br /&gt;
Being buried to rest 入土为安&lt;br /&gt;
&lt;br /&gt;
Burial in Earth 土葬&lt;br /&gt;
&lt;br /&gt;
Cremation 火葬&lt;br /&gt;
&lt;br /&gt;
Sky Burial \ Celestial burial 天葬&lt;br /&gt;
&lt;br /&gt;
Water Burial 水葬&lt;br /&gt;
&lt;br /&gt;
Bird-giving 施鸟&lt;br /&gt;
&lt;br /&gt;
Water burial of whole bodies 整尸水葬&lt;br /&gt;
&lt;br /&gt;
Water burial of separated bodies 分尸水葬&lt;br /&gt;
&lt;br /&gt;
==Questions==&lt;br /&gt;
1.When did the earliest funeral rites originate?&lt;br /&gt;
&lt;br /&gt;
2.What made detailed stipulations on funeral rites?&lt;br /&gt;
&lt;br /&gt;
3.What are the reasons that funeral culture gradually simplified after the founding of New China?&lt;br /&gt;
&lt;br /&gt;
4.What is the first step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
5.What is the last step of traditional funeral process?&lt;br /&gt;
&lt;br /&gt;
6.Could you list some typical styles of traditional Chinese funeral?&lt;br /&gt;
&lt;br /&gt;
7.In Tibetan language, what is celestial burial called as？&lt;br /&gt;
&lt;br /&gt;
8.Which religions influences Chinese funeral most profoundly?&lt;br /&gt;
&lt;br /&gt;
==Answers==&lt;br /&gt;
1.The earliest funeral rites in China originated in the late Paleolithic Age.&lt;br /&gt;
&lt;br /&gt;
2.The Rites of Zhou, The Book of Rites and other books.&lt;br /&gt;
&lt;br /&gt;
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.&lt;br /&gt;
&lt;br /&gt;
4.A public announcement of death with weeping and other sad expressions.&lt;br /&gt;
&lt;br /&gt;
5.Buried.&lt;br /&gt;
&lt;br /&gt;
6.Burial in Earth, Cremation, Sky Burial and Water Burial. &lt;br /&gt;
&lt;br /&gt;
7.&amp;quot;Bird-giving&amp;quot;(Shiniao).&lt;br /&gt;
&lt;br /&gt;
8.Buddhism.&lt;br /&gt;
&lt;br /&gt;
==References==&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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];&lt;br /&gt;
&lt;br /&gt;
[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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 ;&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
[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. &lt;br /&gt;
&lt;br /&gt;
[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；&lt;br /&gt;
&lt;br /&gt;
[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;&lt;br /&gt;
&lt;br /&gt;
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		<author><name>Wu Xinxin</name></author>
	</entry>
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