China Studies Wiki - User contributions [en]

User:Xiang Jianning

2025-06-05T14:01:16Z

Xiang Jianning:

Traditional dress: Horse -face skirt

Introduction
The horse-faced skirt was one of the most popular and representative Chinese traditional clothing in the Ming and Qing Dynasties. Its main features are as follows: Firstly, it shares a skirt waist, with two pieces overlapping in the middle, and the shape of the skirt front is a rectangular "horse face". Secondly, In the Ming Dynasty, the middle encircled pleats part of the horse-faced skirts are facing each other with two moveable pleats. Thirdly, the patterns of the horse-faced skirt are mainly concentrated at the hem of the skirt, and are gradually simplified from the bottom to the top. The pattern themes are all patterns with auspicious meanings and the patterns are combined with each other.
The embroidery on the horse-face skirt is primarily concentrated on the skirt panels. The outer panels commonly feature auspicious beast patterns such as dragons, phoenixes, and qilin, symbolizing good fortune, nobility, and power. Floral motifs like peonies and lotuses represent beauty and purity, while geometric patterns such as key patterns and cloud motifs embody traditional aesthetic ideals.

1 History
The horse-face skirt evolved from its rudimentary form in the Song Dynasty, through its standardization and peak in the Ming Dynasty, to its fusion and transformation in the Qing Dynasty. After experiencing decline in modern times, it has now witnessed a cultural resurgence in the contemporary era. Its developmental journey profoundly mirrors China’s social transformations, ethnic cultural exchanges, and the evolution of traditional aesthetic values in clothing.

1.1 Xuan Skirt of the Song Dynasty
Meng Hui points out in The Slit Skirt that the xuan skirt (旋裙, xuánqún) of the Song Dynasty shares a developmental connection with the horse-face skirt. Its split-crotch design (缺胯结构, quēkuà jiégòu) is considered the prototype of the horse-face skirt's structure. The fundamental construction of the Song Dynasty xuan skirt—characterized by overlapping front and back panels that mutually cover each other—closely resembles the panel arrangement of the horse-face skirt, thus establishing it as the latter's precursor.
1.2 Horse-Face Skirt of the Yuan Dynasty
By the Yuan Dynasty, the form of the xuan skirt had become relatively standardized. As clearly discernible in the simplified drawings of female attendant figurines unearthed from a Yuan Dynasty tomb in Baoji, key design elements of the Yuan xuan skirt included being wrapped and fastened at the waist-high position, featuring overlapping front panels, a split-crotch structure, and pleated side sections.

1.3 Horse-Face Skirt of the Ming Dynasty
Early Ming Dynasty:
The form of the horse-face skirt, inheriting the legacy of previous dynasties, began to take definitive shape. Both its artistic expression and stylistic features exhibited a sense of rustic simplicity and naturalness. From the perspective of motifs and decoration, the patterns on Ming horse-face skirts were exquisitely intricate, with diverse designs arranged in orderly horizontal band-like formations.
The Formative Period:
The Ming Dynasty marked the formative period of the horse-face skirt. Building upon the foundation of the Song and Yuan xuan skirt, Ming women's skirts retained the central "mamian" panel structure. This evolved into a style featuring functional pleats on both sides and smooth, unpleated panel surfaces at the front and back centers. The number of pleats typically numbered in the dozens, and these pleats were characteristically wide and functional (活褶, huó zhě).
Ming Dynasty clothing followed the upper-lower garment system (上衣下裳制, shàngyī xiàcháng zhì). As a quintessential lower garment within this system, the horse-face skirt manifested in distinct categories and styles. Zhongguo Fushi Shi (History of Chinese Costume), co-authored by Chen Zhihua and others, documents lower garments of the Ming era. Among them, Phoenix-tail skirts (凤尾裙, fèngwěi qún), Moonbeam skirts (月华裙, yuèhuá qún), Happiness-union skirts (合欢裙, héhuān qún), and Hundred-pleated skirts (百褶裙, bǎizhě qún) are all recognized within modern classification as variations of the horse-face skirt.

1.4 Horse-Face Skirt of the Qing Dynasty
Upon entering the Qing Dynasty, the horse-face skirt became daily wear for women. While inheriting Ming traditions, Qing horse-face skirts placed greater emphasis on border craftsmanship, incorporating lan-gan decorative borders (襕干边) or multi-layered trims to enhance visual depth and richness. The skirt reached its zenith during the Qing era, establishing itself as both the quintessential and iconic garment for women in daily life.
Furthermore, Qing horse-face skirts exhibited remarkable diversity in form, with styles such as Moonbeam skirts (月华裙), Fish-scale skirts (鱼鳞裙), and Hundred-pleated skirts (百褶裙) showcasing exceptional innovation and technical mastery. In terms of color and ornamentation, these skirts featured intensely vivid hues and elaborate decorative motifs, creating visually dazzling and intricate presentations.
Structurally, the skirt consisted of two identical panels. When worn, the waistband’s buttons or ties were fastened at the front. Notably, the waistband was predominantly white—a color symbolizing the marital blessing of "lasting union" (白头偕老, báitóu xiélǎo).

Terms and Expressions

The horse-faced skirt 马面裙
Moonbeam skirts 月华裙
Fish-scale skirts 鱼鳞裙
Happiness-union skirts 合欢裙
Hundred-pleated skirts 百褶裙
xuan skirt 旋裙
lan-gan decorative borders 襕干边
the upper-lower garment system 上衣下裳制
reached its zenith 盛极一时
border craftsmanship 镶边工艺
symbolizing the marital blessing of 'lasting union 白头偕老之意
functional pleats on both sides 两边打褶
Split-crotch design 缺胯结构

References

[1]BAO Shuyi,Guo Tianjiao 鲍殊易，郭天娇《传统马面裙形制结构考释及其现代设计思辨》【An analysis of the traditional horse-face skirt structure and its modern design】，丝绸2025(02)
[2] JIA Xizeng 贾玺增《中国古代马面裙研究——兼论清华大学艺术博物馆藏马面裙》【Study on ancient Chinese horse-faced skirt——on the horse-faced skirt in the Art Museum of Tsinghua University】，东华大学学报（社会科学版）：2023（01）
[3] CHEN Zhihua陈志华, 朱华.中华服饰史[M].北京：中国纺织出版社, 2008.

传统裙装：马面裙
引言：
马面裙是明清时期流行最广泛、最具代表性的中国传统服装之一，其主要特征为：第一，共用一个裙腰，采用中间交叠的二片式结构，裙门外形为长方形的“马面”;第二，明代马面裙裙身中间打活褶，活褶中间为“合抱褶”。第三：马面裙的纹样主要集中在裙摆的位置，下部花样繁复而向上逐步简化，纹样题材都是具有美好寓意的纹样并且纹样间相互组合。
马面裙的刺绣主要集中在裙门处，外裙门的刺绣常见的有龙凤、麒麟等瑞兽图案，象征着吉祥如意、权力尊贵;也有牡丹、莲花等花卉图案寓意着美好、纯洁；还有一些回纹、云纹等几何图案体现了传统的审美观念。

1马面裙的历史起源与发展
马面裙从宋代的雏形，到明代的定型与鼎盛，再到清代的融合演变，经历了近代的衰落，最终在当代迎来了文化复兴。它的发展历程深刻反映了中国社会变迁、民族文化交流以及传统服饰审美的演变。

1.1宋代旋裙
孟晖在《开衩之裙》中指出，宋代的旋裙与马面裙存在着渊源关系，其缺胯结构被认为是马面裙结构的雏形。宋代旋裙的基本结构与马面裙裙门前后交掩、叠搭的结构类同，故被视为马面裙的雏形。[1]
图1 宋代黄褐色绢印靛蓝小点花裙

1.2 元代马面裙
至元代，旋裙的形制已相对固定，从宝鸡元墓出土的女侍俑简图中可以清楚地观察到元代旋裙围系、交掩、缺胯、打褶设计元素（如图2）。
图2 陕西宝鸡元墓出土的女侍俑

1.3明代马面裙
明代初期，服饰制度承袭前朝遗风的马面裙形制初具雏形，无论是艺术形态还是款式特征都展现朴素自然之感。从纹样与装饰的角度，明代马面裙的纹样精妙绝伦，各式纹样以横向带状的形态有序铺陈。
明代是马面裙的成型期。明代女裙在宋元时代旋裙的基础上保留了“马面”,出现了两侧打褶前后中部为光面的款式，褶裥数目大多在数十条，且褶裥较为宽大的活褶。[1]
明代服饰在形制上沿袭上衣下裳制，马面裙作为下裳中的典型服饰，有着不同的种类及样式。陈志华等编著的《中国服饰史》中有提及明代下裳服饰。其中，凤尾裙、月华裙、合欢裙和百褶裙都是如今所说的马面裙。[3]
图3《明宪宗元宵行乐图》中身穿马面裙的后妃们

图4 驼黄色织金暗花缎凤穿牡丹斓单裙

1.3清代马面裙
进入清代后，马面裙成为清代女子的日常着装。清代马面裙在继承明代传统的基础上，更加注重镶边工艺，增加了襕干边或多重镶边，增添了视觉的层次丰富性。马面裙到了清代盛极一时，成为清代女性日常和标志性服装款式。此外，清代马面裙的形制也是琳琅满目，出现了如月华裙、鱼鳞裙、百褶裙等形制，展现了颇为高超的创新性与工艺水平。在色彩和装饰纹样方面，清代马面裙的色彩与装饰纹样浓重艳丽、纷繁复杂，在视觉呈现上极为绚烂繁目。它由两片相同的裙片组成，穿着时需要将裙腰上的扣子或绳系好。清代马面裙裙腰部分多用白色，取“白头偕老”之意。[2]
图4 清代杏红暗花绸地绣牡丹蝴蝶纹马面裙

图5 清代酱紫缎地三蓝绣侧裙

User:Xiang Jianning

2025-06-05T14:00:25Z

Xiang Jianning:

Traditional dress: Horse -face skirt

Introduction
The horse-faced skirt was one of the most popular and representative Chinese traditional clothing in the Ming and Qing Dynasties. Its main features are as follows: Firstly, it shares a skirt waist, with two pieces overlapping in the middle, and the shape of the skirt front is a rectangular "horse face". Secondly, In the Ming Dynasty, the middle encircled pleats part of the horse-faced skirts are facing each other with two moveable pleats. Thirdly, the patterns of the horse-faced skirt are mainly concentrated at the hem of the skirt, and are gradually simplified from the bottom to the top. The pattern themes are all patterns with auspicious meanings and the patterns are combined with each other.
The embroidery on the horse-face skirt is primarily concentrated on the skirt panels. The outer panels commonly feature auspicious beast patterns such as dragons, phoenixes, and qilin, symbolizing good fortune, nobility, and power. Floral motifs like peonies and lotuses represent beauty and purity, while geometric patterns such as key patterns and cloud motifs embody traditional aesthetic ideals.

1 History
The horse-face skirt evolved from its rudimentary form in the Song Dynasty, through its standardization and peak in the Ming Dynasty, to its fusion and transformation in the Qing Dynasty. After experiencing decline in modern times, it has now witnessed a cultural resurgence in the contemporary era. Its developmental journey profoundly mirrors China’s social transformations, ethnic cultural exchanges, and the evolution of traditional aesthetic values in clothing.

1.1 Xuan Skirt of the Song Dynasty
Meng Hui points out in The Slit Skirt that the xuan skirt (旋裙, xuánqún) of the Song Dynasty shares a developmental connection with the horse-face skirt. Its split-crotch design (缺胯结构, quēkuà jiégòu) is considered the prototype of the horse-face skirt's structure. The fundamental construction of the Song Dynasty xuan skirt—characterized by overlapping front and back panels that mutually cover each other—closely resembles the panel arrangement of the horse-face skirt, thus establishing it as the latter's precursor.
1.2 Horse-Face Skirt of the Yuan Dynasty
By the Yuan Dynasty, the form of the xuan skirt had become relatively standardized. As clearly discernible in the simplified drawings of female attendant figurines unearthed from a Yuan Dynasty tomb in Baoji, key design elements of the Yuan xuan skirt included being wrapped and fastened at the waist-high position, featuring overlapping front panels, a split-crotch structure, and pleated side sections.

1.3 Horse-Face Skirt of the Ming Dynasty
Early Ming Dynasty:
The form of the horse-face skirt, inheriting the legacy of previous dynasties, began to take definitive shape. Both its artistic expression and stylistic features exhibited a sense of rustic simplicity and naturalness. From the perspective of motifs and decoration, the patterns on Ming horse-face skirts were exquisitely intricate, with diverse designs arranged in orderly horizontal band-like formations.
The Formative Period:
The Ming Dynasty marked the formative period of the horse-face skirt. Building upon the foundation of the Song and Yuan xuan skirt, Ming women's skirts retained the central "mamian" panel structure. This evolved into a style featuring functional pleats on both sides and smooth, unpleated panel surfaces at the front and back centers. The number of pleats typically numbered in the dozens, and these pleats were characteristically wide and functional (活褶, huó zhě).
Ming Dynasty clothing followed the upper-lower garment system (上衣下裳制, shàngyī xiàcháng zhì). As a quintessential lower garment within this system, the horse-face skirt manifested in distinct categories and styles. Zhongguo Fushi Shi (History of Chinese Costume), co-authored by Chen Zhihua and others, documents lower garments of the Ming era. Among them, Phoenix-tail skirts (凤尾裙, fèngwěi qún), Moonbeam skirts (月华裙, yuèhuá qún), Happiness-union skirts (合欢裙, héhuān qún), and Hundred-pleated skirts (百褶裙, bǎizhě qún) are all recognized within modern classification as variations of the horse-face skirt.

1.4 Horse-Face Skirt of the Qing Dynasty
Upon entering the Qing Dynasty, the horse-face skirt became daily wear for women. While inheriting Ming traditions, Qing horse-face skirts placed greater emphasis on border craftsmanship, incorporating lan-gan decorative borders (襕干边) or multi-layered trims to enhance visual depth and richness. The skirt reached its zenith during the Qing era, establishing itself as both the quintessential and iconic garment for women in daily life.
Furthermore, Qing horse-face skirts exhibited remarkable diversity in form, with styles such as Moonbeam skirts (月华裙), Fish-scale skirts (鱼鳞裙), and Hundred-pleated skirts (百褶裙) showcasing exceptional innovation and technical mastery. In terms of color and ornamentation, these skirts featured intensely vivid hues and elaborate decorative motifs, creating visually dazzling and intricate presentations.
Structurally, the skirt consisted of two identical panels. When worn, the waistband’s buttons or ties were fastened at the front. Notably, the waistband was predominantly white—a color symbolizing the marital blessing of "lasting union" (白头偕老, báitóu xiélǎo).

Terms and Expressions

The horse-faced skirt 马面裙
Moonbeam skirts 月华裙
Fish-scale skirts 鱼鳞裙
Happiness-union skirts 合欢裙
Hundred-pleated skirts 百褶裙
xuan skirt 旋裙
lan-gan decorative borders 襕干边
the upper-lower garment system 上衣下裳制
reached its zenith 盛极一时
border craftsmanship 镶边工艺
symbolizing the marital blessing of 'lasting union 白头偕老之意
functional pleats on both sides 两边打褶
Split-crotch design 缺胯结构

References

[1]BAO Shuyi,Guo Tianjiao 鲍殊易，郭天娇《传统马面裙形制结构考释及其现代设计思辨》【An analysis of the traditional horse-face skirt structure and its modern design】，丝绸2025(02)
[2] JIA Xizeng 贾玺增《中国古代马面裙研究——兼论清华大学艺术博物馆藏马面裙》【Study on ancient Chinese horse-faced skirt——on the horse-faced skirt in the Art Museum of Tsinghua University】，东华大学学报（社会科学版）：2023（01）
[3] CHEN Zhihua陈志华, 朱华.中华服饰史[M].北京：中国纺织出版社, 2008.

传统裙装：马面裙
引言：
马面裙是明清时期流行最广泛、最具代表性的中国传统服装之一，其主要特征为：第一，共用一个裙腰，采用中间交叠的二片式结构，裙门外形为长方形的“马面”;第二，明代马面裙裙身中间打活褶，活褶中间为“合抱褶”。第三：马面裙的纹样主要集中在裙摆的位置，下部花样繁复而向上逐步简化，纹样题材都是具有美好寓意的纹样并且纹样间相互组合。
马面裙的刺绣主要集中在裙门处，外裙门的刺绣常见的有龙凤、麒麟等瑞兽图案，象征着吉祥如意、权力尊贵;也有牡丹、莲花等花卉图案寓意着美好、纯洁；还有一些回纹、云纹等几何图案体现了传统的审美观念。
1马面裙的历史起源与发展
马面裙从宋代的雏形，到明代的定型与鼎盛，再到清代的融合演变，经历了近代的衰落，最终在当代迎来了文化复兴。它的发展历程深刻反映了中国社会变迁、民族文化交流以及传统服饰审美的演变。
1.1宋代旋裙
孟晖在《开衩之裙》中指出，宋代的旋裙与马面裙存在着渊源关系，其缺胯结构被认为是马面裙结构的雏形。宋代旋裙的基本结构与马面裙裙门前后交掩、叠搭的结构类同，故被视为马面裙的雏形。[1]
图1 宋代黄褐色绢印靛蓝小点花裙

1.2 元代马面裙
至元代，旋裙的形制已相对固定，从宝鸡元墓出土的女侍俑简图中可以清楚地观察到元代旋裙围系、交掩、缺胯、打褶设计元素（如图2）。
图2 陕西宝鸡元墓出土的女侍俑

1.3明代马面裙
明代初期，服饰制度承袭前朝遗风的马面裙形制初具雏形，无论是艺术形态还是款式特征都展现朴素自然之感。从纹样与装饰的角度，明代马面裙的纹样精妙绝伦，各式纹样以横向带状的形态有序铺陈。
明代是马面裙的成型期。明代女裙在宋元时代旋裙的基础上保留了“马面”,出现了两侧打褶前后中部为光面的款式，褶裥数目大多在数十条，且褶裥较为宽大的活褶。[1]
明代服饰在形制上沿袭上衣下裳制，马面裙作为下裳中的典型服饰，有着不同的种类及样式。陈志华等编著的《中国服饰史》中有提及明代下裳服饰。其中，凤尾裙、月华裙、合欢裙和百褶裙都是如今所说的马面裙。[3]
图3《明宪宗元宵行乐图》中身穿马面裙的后妃们

图4 驼黄色织金暗花缎凤穿牡丹斓单裙

1.3清代马面裙
进入清代后，马面裙成为清代女子的日常着装。清代马面裙在继承明代传统的基础上，更加注重镶边工艺，增加了襕干边或多重镶边，增添了视觉的层次丰富性。马面裙到了清代盛极一时，成为清代女性日常和标志性服装款式。此外，清代马面裙的形制也是琳琅满目，出现了如月华裙、鱼鳞裙、百褶裙等形制，展现了颇为高超的创新性与工艺水平。在色彩和装饰纹样方面，清代马面裙的色彩与装饰纹样浓重艳丽、纷繁复杂，在视觉呈现上极为绚烂繁目。它由两片相同的裙片组成，穿着时需要将裙腰上的扣子或绳系好。清代马面裙裙腰部分多用白色，取“白头偕老”之意。[2]
图4 清代杏红暗花绸地绣牡丹蝴蝶纹马面裙

图5 清代酱紫缎地三蓝绣侧裙

Chin Lang Cult Fin Exam Spring 2025

2025-05-09T08:00:18Z

Xiang Jianning:

Final Exam Paper Titles
#https://bou.de/u/wiki/User:Liu_Chao#Final_Paper 簪花 Zang Flowers ok
#https://bou.de/u/wiki/User:Tao_Yao 拔罐 Cupping Therapy ok
#https://bou.de/u/wiki/User:Zeng_Zhi 手串文化 Bead Bracelet Culture ok
#https://bou.de/u/wiki/User:Zhang_Jiaxin 哪吒 Cultural Implications of Nezha ok
#https://bou.de/u/wiki/User:Li_Ting2 湘西赶尸 The Corpse of Xiangxi Technique ok
#https://bou.de/u/wiki/User:Liao_Zuoyun 湘菜 Hunan Cuisine ok (please check if not yet in the text book)
#https://bou.de/u/wiki/User:Liu_Qi 劝酒文化 Drinking Persuasion Culture ok
#https://bou.de/u/wiki/User:Zhang_Huifang 蔡伦与造纸术 Cai Lun invents the paper making ok
#https://bou.de/u/wiki/User:Cheng_Sixiang 月饼 Mooncake ok, but check if not yet in the text book
#https://bou.de/u/wiki/User:Miao_Yunlong 女书 Women's Script Nvshu ok, but check if not yet in the text book
#https://bou.de/u/wiki/User:Huang_Yixuan2 纪录片：《我在故宫修文物》Documentary: Masters in Forbidden City
#https://bou.de/u/wiki/User:Li_Mei 《易经》与阴阳八卦 ''The Book of Changes''and Yin-Yang ok
#https://bou.de/u/wiki/User:Liao_Dan 吊脚楼 Stilted Building
#https://bou.de/u/wiki/User:Zheng_Jinlian 陈皮 Dried Orange Peel ok
#https://bou.de/u/wiki/User:Lu_Jiahui 中国古代幻术 Ancient Chinese Art of Illusions ok
#https://bou.de/u/wiki/User:Du_Yuan 点茶 Tea Whisking ok
#https://bou.de/u/wiki/User:Liu_Ying 盲盒经济 Blind Box Economy ok
#https://bou.de/u/wiki/User:Cao_Yuan 蒙古族舞蹈 Mongolian Ethnic Dance ok
#https://bou.de/u/wiki/User:Zhang_Mai 汝瓷 Ru porcelain ok
#https://bou.de/u/wiki/User:Xu_Yangyang 打铁花 Striking Iron Flower ok
#https://bou.de/u/wiki/User:Liu_Peini 灯芯糕 The Wick Cakes ok
#https://bou.de/u/wiki/User:Song_Xin 剑门关 Jianmen Pass ok, but please only explain the culture, not landscape or material objects
#https://bou.de/u/wiki/User:Cao_Chunyang 胖东来 Pangdonglai Supermarket in a fourth-tier city ok
#https://bou.de/u/wiki/User:Jin_Yichen 吴越文化 Wuyue Culture ok
#https://bou.de/u/wiki/User:Ye_Sitong 温州话 Wenzhou Dialect ok
#https://bou.de/u/wiki/User:Xiao_Luyu 封神演义 Chinese classical novel The Investiture of the Gods ok
#https://bou.de/u/wiki/User:Zhang_Qi 福建线面 Fujian Thin Noddles ok
#https://bou.de/u/wiki/User:Zheng_Kaiwu 工夫茶 Kanghu tea ok
#https://bou.de/u/wiki/User:Luo_Jingyan 油纸伞折扇 Folding Fan
#https://bou.de/u/wiki/User:Luo_Sicheng 惊鸿舞 Flying Wild Goose Dance ok
#https://bou.de/u/wiki/User:Liu_Jianan 安徽名酒—古井贡酒 Famous Anhui Liquor-Gujing Tribute Liquor
#https://bou.de/u/wiki/User:Chen_Lin 服美役 beauty duty ok
#https://bou.de/u/wiki/User:Tang_Yan 道州理学文化 Neo-Confucian Culture in Daozhou ok
#https://bou.de/u/wiki/User:Qin_Yi 胶东花饽饽 Jiao Dong Huabobo ok
#https://bou.de/u/wiki/User:Chen_Zhen 玄奘 Xuanzang ok
#https://bou.de/u/wiki/User:Ou_Huang 浏阳花炮制作技艺 Liuyang Fireworks Making Technique ok
#https://bou.de/u/wiki/User:Luo_Yan 成人礼：冠礼和笄礼 Traditional Chinese coming-of-age ceremony：Guan Li and Ji Li ok
#https://bou.de/u/wiki/User:Lv_Jiahao 越剧 Opera:Yue Opera Pleaes check if it is already in the text book.
#https://bou.de/u/wiki/User:Wang_Yuxin 中国古法酿酒 Traditional Chinese Brewing Techniques ok
#https://bou.de/u/wiki/User:Dai_Yexun 粤剧 Opera:Cantonese opera Please check if it is already in the text book.
#https://bou.de/u/wiki/User:Yan_Jidong 闽南文化 Hokkien culture ok.
#https://bou.de/u/wiki/User:Qiu_Ping 重阳节 Chung Yeung Festival ok
#https://bou.de/u/wiki/User:He_Yunfeng 献哈达 Tibetan Etiquette:Offering Hada(Khata)
#https://bou.de/u/wiki/User:Zhou_Le 榨辣椒 Pressing pepper
#https://bou.de/u/wiki/User:Huang_Qiaoqiao 舞剧《咏春》 Dance Drama Wing Chun
#https://bou.de/u/wiki/User:Duan_Binyao 古诗十九首 Nineteen Old Poems
#https://bou.de/u/wiki/User:Li_Linyao 泼水节 Water-Splashing Festival
#https://bou.de/u/wiki/User:Xiao_Yikang 江西地方端午节传统习俗 Local Dragon Boat Festival traditions of Jiangxi
#https://bou.de/u/wiki/User:Gao_Xiaoqing 粽子 Zongzi
#https://bou.de/u/wiki/User:Zhang_Meiling 秧歌 Yangko
#https://bou.de/u/wiki/User:Huang_Sinan 春晚 Spring Festival Gala
#https://bou.de/u/wiki/User:Du_Jiangping 楚辞 The Songs of Chu
#https://bou.de/u/wiki/User:Jiang_Ziqiang 抛绣球 Zhuang Custom of Throwing the Embroidered Ball for Courtship
#https://bou.de/u/wiki/User:Zeng_Xiaohui 中秋节 Mid-autumn Festival
#https://bou.de/u/wiki/User:Geng_Hongmei 醴陵釉下五彩瓷 Five-colored Under Glaze made in Liling
#https://bou.de/u/wiki/User:Yang_Yue2 现代文学：许渊冲 Modern Literature: Xv Yuanchong
#https://bou.de/u/wiki/User:Chen_Anqi 螺钿 Luodian
#https://bou.de/u/wiki/User:Yang_Jing 粮画 The Grain Paintings
#https://bou.de/u/wiki/User:Dai_Shiru 李白 Li Bai
#https://bou.de/u/wiki/User:Yu_Jingfang 傩文化 Nuo culture
#https://bou.de/u/wiki/User:Li_Mingfeng 编钟 Chinese Ancient Instrument:Bianzhong
#https://bou.de/u/wiki/User:Chen_Ting 湘西泡菜 Xiangxi Kimchi
#https://bou.de/u/wiki/User:Gong_Wei 桃源擂茶 Taoyuan Lei Cha
#https://bou.de/u/wiki/User:Yang_Jiahong2 闽南红砖古厝 Southern Fujian Red Brick Ancient Houses
#https://bou.de/u/wiki/User:Wang_Huaixing 长白山 Mount Changbai
#https://bou.de/u/wiki/User:Xiang_Jianning 马面裙 Horse face skirt

Chinese Language and Culture, Spring 2025

2025-02-28T04:41:33Z

Xiang Jianning: /* Homework for Session 2 */

--[[User:Miao Yunlong|Miao Yunlong]] ([[User talk:Miao Yunlong|talk]]) 13:12, 24 February 2025 (UTC)[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=

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

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

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

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

----
==Homework for every session==
Please prepare the topics of the following session by reading the respective texts in the textbook (if you have not much time, you can read it in Chinese), learn the vocabulary and make yourself familiar with the questions asked under the text.

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]

==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on http://bit.ly/WIKIREG, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password "wikicaptcha". More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

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

1. Geographic Nature as a Basis for Cultural Development 17

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

3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31

4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40

5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49

6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

39. Education: Historical Figures, The Four Talented Women of Ancient China 361

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462

51. Games: Kite Flying 468

52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

55. Garden Culture: The Summer Palace 519（Li Mei）

56. Garden Culture: Qingming Riverside Landscspe Garden 526

57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

61. Landscapes and Tourism: Four State-Level Cultural Relics 573

62. Landscapes and Tourism: Landscape, Five Famous Mountains 585

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

71. Literature: Ancient literature - Chinese Classical Fairy Tales 681

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

74. Literature: Ancient Literature - Four satirical novels in ancient China 706

75. Literature: Ancient literature: Four Folk Stories of Ancient China 715

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)

77. Literature: Ancient Literature: The Classic of Mountains and Seas 748

78. Literature: Ancient literature: Yuefu 765

79. Literature: Premodern literature - China's Four Great Classical Novels 773

80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780

81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786

82. Literature: Premodern literature: Tang-Song 794

83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823

84. Literature: Modern Literature 832

85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277

133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456（Xiao Zixin）

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480

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

157. Traditional Cuisine: Hotpot 1501

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685 （Lu Wei）

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719 (Fu Sihui)

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790.(Chen Sisi)

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)

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

195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)

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

197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）

201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)

202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)

203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)

204. Stand-up comedy 单口喜剧 1845（Huang Sinan）

205. Bride-price（彩礼） 1845 （Wu Jiating）

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Liu Peini)

208. Chinese traditional ornament: Buyao （步摇） 1845

209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）

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

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

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

213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)

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

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

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

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

218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)

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

220. Rice cake (年糕) 1845 （Dong Jiating）

221. Zhongyuan festival 1845 （Ou Huang）

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

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

224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)

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

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

227. Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

230. Gayageum（伽倻琴） 1845 (Zhang Meiling)

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）

235. Bamboo Weaving (竹编） 1845 (Chen Anqi)

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

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

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

239. Female Emperor---Wu Zetian 1845 (Song Xin)

240. Clay sculpture (泥塑） 1845 (Chen Lin)

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)

243. Chinese name（中国姓名文化） 1845 (Yang Jing)

244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )

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

253. Yuelu Mountain (岳麓山) 1845（Chen Ting）

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845

263. Shaolin Temple (少林寺) 1845 (Zuo Fang)

264. Single bamboo drifting（独竹漂） 1845

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

266. Hui Culture (徽文化) 1845(Liu Jianan)

267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)

268. Table Manners 1845（Luo Yan）

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

270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)

271. Palace Lantern（宫灯） 1845

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)

274. God of Wealth(财神) 1845 （Zeng Zhi）

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）
277. Mirror (镜子) 1845 (Cheng Sixiang)

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

279. Huo Qubing (霍去病） 1845 （Luo Jingyan）

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

281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）

282. Black Myth: Wukong（黑神话悟空） 1845 (Chen Zhen)

283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）

=Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

==Topics for today==
Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)

You need to copy all the topics for the whole semester to the sessions NOW. If you do not do it sufficiently in advance, how can the fellow students prepare the texts?

Please remember that you have to indicate the 10 topics for Friday on the course website under "Session 2" with the topic name, student name, powerpoint uploaded (max size 10 MB), all presentations will be each on 1 topic only and cannot exceed 5 minutes. They have to be interactive and helpful from the perspective of an interpreter or translator who needs to prepare his/her work on this topic.

55. Garden Culture: The Summer Palace 519（Li Mei）[[File:The Summer Palace - Li Mei.pptx]]

52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[File:Mahjong-Jiang_Ziqiang.pptx]]

76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao) [[File:Duan_Binyao_-76Su_Shi_and_Delegation_Literature.pptx]]

Topic 4

Topic 5

Topic 6

Topic 7

Topic 8

Topic 9

Topic 10

=Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=
=Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=
=Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=
=Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=
=Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=
=Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=
=HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=
劳动节5月1日——5月5日
=Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=
=Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=
=Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=
=Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=
端午节5月31日——6月2日
=Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=
Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]