File:The Investiture of the Gods.01.jpg

2025-06-15T10:33:31Z

Xiao Luyu:

User:Xiao Luyu

2025-06-15T10:30:12Z

Xiao Luyu:

'''Literature:Chinese classical novel ''The Investiture of the Gods'''''
Xiao Luyu 202470081581

=Abstract=
''The Investiture of the Gods'' is a classic Chinese supernatural novel written by Xu Zhonglin in the Ming Dynasty. Set against the backdrop of the transition from the Shang to the Zhou Dynasty, it integrates history, mythology, and folk beliefs to construct a grand world of gods and demons. The novel narrates the story of Jiang Ziya assisting King Wu of Zhou in overthrowing the tyrant King Zhou of Shang, engaging in battles of sorcery with immortals from the Chan and Jie sects to confer divine titles, and shaping iconic characters such as Jiang Ziya, Nezha, and Yang Jian.

In recent years,''The Investiture of the Gods'' has sparked heated discussions worldwide through its film and television adaptations, becoming a significant example of China's cultural outreach. By presenting ancient Chinese myths and historical legends through modern cinematic language, it not only conveys timeless themes such as the triumph of justice over evil, loyalty, and betrayal but also showcases the profound heritage and unique charm of Chinese culture. The international dissemination of Investiture of the Gods has facilitated cultural exchanges between China and foreign countries, enabling global audiences to appreciate the richness and depth of Chinese culture. It is not only a treasure of literary art but also a bridge connecting different cultures, injecting new vitality into cultural exchanges and cooperation between China and foreign countries.

Against this backdrop, this paper provides an introduction to the main plot, cultural connotations, and impact on Chinese literature of the novel ''The Investiture of the Gods'', aiming to enable both Chinese and foreign readers to better understand the Chinese cultural connotations within it and promote in-depth cultural exchanges and dissemination between China and foreign countries.

=Introduction:=
''The Investiture of the Gods'' is a long-form mythical fantasy novel in the history of Chinese classical literature, also known as ''The Investiture List, Chronicles of the Shang and Zhou Kingdoms, and The Unofficial History of King Wu’s Conquest of Zhou''. Authored by Xu Zhonglin, it was written approximately during the Longqing or Wanli era of the Ming Dynasty (1567–1619) and is renowned as one of the "Four Great Masterpieces of the “Ming Dynasty” alongside Journey to the West, Romance of the Three Kingdoms, and Water Margin.

The story centers on the historical narrative of King Wen of Zhou and King Wu of Zhou overthrowing the tyrannical rule of King Zhou of Shang during the late Shang Dynasty. It incorporates celestial deities divided into the Chan Sect and Jie Sect, who support King Wu of Zhou and King Zhou of Shang respectively. Both sides display supernatural powers and battle with magical treasures, culminating in the victory of the Chan Sect and King Wu’s faction (Chen Xiaowei & Shi Mingyao, 2020). The author blends extensive folklore, myths, Taoist elements, and Confucian-Buddhist concepts to construct a grand mythical universe.

=Plot Summary:=
==Tyranny of King Zhou==
Set in the late Shang Dynasty, King Zhou possesses intelligence but is arrogant and obstinate. Disrespecting the goddess Nvwa at her temple, he writes irreverent poetry, provoking divine wrath. To punish humanity, Nvwa sends a nine-tailed fox to possess Daji, who enters the palace and bewitches King Zhou. Consumed by decadence, King Zhou builds extravagant “pools of wine and forests of hanging meat,” invents the cruel “burning pillar torture,” and murders loyal ministers like Bi Gan and Mei Bo. His misrule leads to governmental collapse, widespread public resentment, and complete loss of popular support.
[[File:The_Investiture_of_the_Gods.1.jpg]]

==Jiang Ziya Descends the Mountain==
Following the order of heaven to assist a virtuous ruler, Primordial Lord of Heaven commands his disciple Jiang Ziya to descend the mountain and aid Ji Chang (King Wen of Zhou). Though elderly, Jiang Ziya possesses extraordinary wisdom. Armed with the “Investiture List” and “Da Shen Bian”, he shoulders the monumental task of enfeoffing gods. Under his guidance, the state of Xiqi grows powerful, establishing a force grounded in benevolence and righteousness. After King Wen’s death, his heir Ji Fa (King Wu of Zhou) ascends the throne and continues the campaign against Shang.
[[File:The Investiture of the Gods.2.jpg]]

==War of Gods and Demons==
As the Zhou-Shang war escalates, deities from both sides descend to intervene. The Zhou faction, representing righteousness, gathers heroic generals like Nezha, Yang Jian, Leizhenzi, and Tuxingsun, each wielding unique skills and powerful treasures (e.g., Nezha’s Universe Ring and Wind-Fire Wheels, Yang Jian’s Heavenly Hound). The Shang side, led by Shen Gongbao, recruits demons and monsters such as Zhao Gongming, Jinling Shengmu, the Four Demon Generals, and the Ten Tianjun of the Jie Sect. The war features epic battles between gods and demons, clashes of magical artifacts, soaring immortal techniques, and intricate mystic arts. Fallen heroes’ spirits are collected by Jiang Ziya for future deification. This conflict transcends human warfare, becoming a celestial struggle.
[[File:The Investiture of the Gods.3.jpg]]

==Fall of Shang, Rise of Zhou & the Investiture List==
King Wu leads his army to capture Zhaoge, the Shang capital. King Zhou immolates himself on the Deer Terrace, Daji is executed, and the Shang Dynasty collapses. The Zhou Dynasty is established, restoring peace. Post-war, Jiang Ziya fulfills his heavenly mandate by proclaiming the “Investiture List” at the Investiture Platform, enfeoffing fallen deities like Li Jing (Pagoda-Bearing Heavenly King), the God of Literature, Plague God, and God of Thunder, thereby rebuilding celestial order.
[[File:The Investiture of the Gods.4.jpg]]

==Restoration of Cosmic Order==
With the investiture complete, the Three Realms (Heaven, Earth, Underworld) are realigned, and deities assume their duties to maintain cosmic harmony. Jiang Ziya retires to Mount Kunlun, concluding the epic.
[[File:The Investiture of the Gods.5.jpg]]

=Cultural Significance：=
==Fusion of Taoism and Buddhism:==
The novel integrates Taoist concepts like “Predestined Fate of Heaven”(e.g., “Shang’s destiny is exhausted; Zhou’s rise is ordained”(Cui Xueru & Yin Qian, 2022)) and the struggle between Chan and Jie Sects, which reflects the religious ideal of “Tao as Supreme” and a complex system embodying “Harmony of Three Teachings: Confucianism, Buddhism, Taoism”(Xie Jinliang, 2014). Taoist practices like deification (Jiang Ziya) and transcendence (Nezha’s “Lotus Rebirth”) are prominent. Buddhist influences include figures like “Tathagata Buddha and Guanyin Bodhisattva”, along with concepts of reincarnation. This syncretism reflects Ming Dynasty religious culture.

==Traditional Ethics: Loyalty, Filial Piety, Benevolence, Righteousness==
''The Investiture of the Gods'' promotes traditional moral concepts such as loyalty, filial piety, benevolence, and righteousness through its character portrayals and plotlines. For example, the episode of Bi Gan having his heart cut out and Huang Feihu's rebellion against Shang embody loyalty to the sovereign and patriotism; Nezha's act of returning his bones to his father and flesh to his mother, while tragic in nature, reflects an extreme manifestation of filial devotion. The stark contrast between Xiqi's prosperity and Shang's corruption extols King Wen of Zhou’s benevolent virtue, King Wu of Zhou’s righteous governance, and Jiang Ziya’s instrumental contributions, exemplifying the Confucian political ideals of “the benevolent love others” and “winning people over through virtue.” These narratives convey the core values of Confucian morality—loyalty, filial piety, benevolence, and righteousness, exerting a profound impact on later generations.

==Dichotomy of Good vs. Evil and Fatalism==
In ''The Investiture of the Gods'', the Chan Sect represented by Jiang Ziya and King Wu embodies the righteous force, while the Jie Sect led by King Zhou represents the villainous faction, reflecting a cosmic confrontation between good and evil. The divergent stances and destinies of these moral opposites are embedded within disaster narratives. For instance, the Jie Sect introduces a plague into the Chan Sect’s camp, which concludes only after the Chan Sect’s Yang Jian visits the Three Saints and obtains the antidote. This episode demonstrates how the two forces respond to calamity: the virtuous act as rescuers and healers, while the malevolent become creators and spreaders of disaster. Within such catastrophe-driven tales, the paths of good and evil inevitably diverge sharply, ultimately leading them onto separate trajectories and distinct fates (Li Mengle & Li Jianwu, 2022).

=Influence on Chinese Literature:=
Chinese classical literature refers to ancient texts that represent Chinese philosophy, history, and cultural heritage (Fangfang Su; Shuhong Zhao, 2025, 01). As an ancient text embodying ancient Chinese philosophy, history, and culture, ''The Investiture of the Gods'' blends historical facts with folk tales and legends, skillfully integrating diverse elements through bold imagination and hyperbolic exaggeration by means of transformation, connection, and splicing. Its astonishing artistic imagination is prominently displayed in the descriptions and portrayals of characters, treasures, sorcery, and scenes of battles between gods and demons (Chen Ke, 2022), thereby enriching the mythological system of Chinese literature.

As an important genre and narrative tradition in Chinese classical literature, the legend has been inherited and developed by different writers with their unique personal styles in the historical practice of modern literature (Xing Wang, 2023, 6(05)). ''The Investiture of the Gods'' employs a legendary narrative technique that intertwines history and mythology, transforming the conflict between the Shang and Zhou dynasties into a battle of sorcery between immortals from the Chan and Jie sects. This creative approach not only takes into account the authenticity of historical events but also enhances the legendary nature through the incorporation of supernatural and demonic elements. It has laid the foundation for the epic scale of ancient Chinese supernatural novels and influenced the creative patterns of subsequent Chinese literature.

The novel’s themes—just rebellion against tyranny, emphasis on popular welfare, moral ethics (loyalty, filial piety, benevolence, and righteousness), and critique of rigid orthodoxy—align with mainstream values, social evolution, national spirit, and retain relevance today (Liu Zehua, 2023), shaping subsequent literary values.

=References:=
[1] Xu Zhonglin. The Investiture of the Gods [M]. Zhonghua Book Company, 2009.

[2] Chen Xiaowei, Shi Mingyao. Value Evolution and Aesthetic Reconstruction of Media Adaptation of The Investiture of the Gods [J]. Movie Review, 2020(10):55-58.

[3] Cui Xueru, Yin Qian. Analysis of Taoist Thought in The Investiture of the Gods [J]. Journal of Xuzhou Institute of Technology (Social Sciences Edition), 2022,37(01):31-37.

[4] Xie Jinliang. Analysis of the Religious Theological System in The Investiture of the Gods[J]. Laozi Studies, 2014(00):197-209.

[5] Li Mengle, Li Jianwu. Cultural Study of The Investiture of the Gods from the Perspective of Archetypal Criticism [J]. Masterpieces Review, 2022(30):19-22.

[6] Chen Ke. Diachronic Dissemination and Contemporary Value of The Investiture of the Gods [D]. Hubei Minzu University, 2022.

[7] Liu Zehua. On the Realistic Arguments and Traditional Cultural Examination of The Investiture of the Gods [J]. Chinese Living Classics (Teaching and Research of Traditional Culture), 2023(02):7-9.

[8]Su F ,Zhao S .Analysis of Chinese classical literature texts and prediction of internet language trends based on natural language processing[J].Journal of Computational Methods in Sciences and Engineering,2025,25(2):1246-1260.

[9]Wang X .The Inheritance and Development of Legendary Tradition in Modern Chinese Literature[J].Lecture Notes on Language and Literature,2023,6(5):.

=Terms and Expressions:=
The Investiture of the Gods《封神演义》

Investiture List 封神榜

Universe Ring 乾坤圈

Wind-Fire Wheels 风火轮

Da Shen Bian 打神鞭

Nine-tailed fox 九尾狐

Deer Terrace 鹿台

Mount Kunlun 昆仑山

Jiang Ziya 姜子牙

Shen Gongbao申公豹

Primordial Lord of Heaven 元始天尊

Chan Sect 阐教

Jie Sect 截教

Harmony of Three Teachings: Confucianism, Buddhism, Taoism 三教合一

Predestined Fate of Heaven 天数命定

Loyalty, Filial Piety, Benevolence, and Righteousness忠孝仁义

Pools of wine and forests of hanging meat 酒池肉林

=Questions:=
1.What were the specific manifestations of King Zhou’s tyranny?

2.What was Jiang Ziya’s mission upon descending the mountain?

3.What traditional moral concepts do Nezha’s “returning bones to his father” and Bi Gan’s “heart extraction” reflect?

4.Why is the Zhou-Shang War fundamentally a battle of “Good vs. Evil”? How do the actions of the Jie and Chan Sects illustrate this?

5.Compared to Western mythology, what cultural uniqueness does the god-demon struggle in The Investiture of the Gods possess?

=Answers=
1.Disrespecting the gods, indulging in wine and women, constructing a "pool of wine and forest of meat," inventing the cruel punishment of cannae-like grilling, and persecuting loyal ministers.

2.Following the command of the Primordial Heavenly Lord, carrying the List of Gods and the Whip to Subdue Gods down the mountain to assist King Wen and King Wu of Zhou in overthrowing King Zhou of Shang, accomplishing the great task of conferring divine titles, and re-establishing the order of the celestial realm.

3.Nezha: An extreme manifestation of filial piety; Bi Gan: Loyal to the monarch and patriotic.

4.Chan Sect: Saving the people and mitigating disasters, such as Yang Jian seeking antidotes to cure the plague; Jie Sect: Creating disasters to afflict the people, such as spreading the plague.

5. Integration of the Three Teachings: The fusion of Daoist fatalism with Buddhist reincarnation beliefs and Confucian loyalty, filial piety, benevolence, and righteousness.

=AI Statement=
I used the AI tool of DeepSeek to assist in writing my final paper。The following are the details of my usage, the process I followed, as well as the prompts I gave and the modifications I made:

==Article Outline==
Since ''The Investiture of the Gods'' is a vast and ancient Chinese classical novel with a rich tapestry of content, first and foremost, I would like to leverage AI to systematically organize the relevant content of the entire book and determine the outline for my thesis.
===Prompt:===
1.Please introduce me to the novel ''The Investiture of the Gods''
===Problems with the output results：===
The response provided by the AI is too broad, with some content omitted, and the key points are not sufficiently highlighted, resulting in a chaotic logic. For example, the AI first introduces the author and the time of the book's composition, then moves on to the main plot and key characteristics, and finally concludes. This lacks logical coherence and makes it difficult for foreign readers to understand.
===The Prompt I modified:===
2.My target readers are foreigners. Please introduce this novel to me from the perspective of promoting Chinese culture and let me know the key content that needs to be introduced
Considering the limited length of the article and the target audience being foreign readers, I have decided to revise my thesis outline as follows: Abstract, Introduction, Brief Summary of Main Plot, Cultural Connotations, and Influence on Chinese Literature.

==Abstract==
===Prompt:===
3.I am currently writing an article to introduce the classical Chinese novel ''The Investiture of the Gods''. What content should I cover in the abstract section?
===Problems with the output results：===
While AI did inform me about the key points to cover in the abstract, such as the work's positioning and nature, core plot, and background, I find it rather general and lacking in specific examples.
===The Prompt I modified:===
4.Please use abstracts from other novels as examples and provide me with some specific examples for reference
Taking the introduction of Journey to the West as an example, AI provided a specific summary example. On this basis, I have clarified the specific content that the abstract of the novel introduction needs to cover, and believe that it is necessary to combine the theme of Chinese cultural publicity and grasp the reading experience of foreign readers. Therefore, I continued to revise the prompts.
5. Please imitate the above novel abstract to generate an article abstract that introduces the Chinese classical novel ''The Investiture of the Gods''. It is required to be written in Chinese with about 200 words, emphasizing the importance of Chinese culture publicity and cultural exchanges between China and foreign countries. The target audience is foreigners.
After the abstract is generated, I will revise it according to my thesis outline, which includes: adjusting the word order, eliminating informal language from the content, verifying the authenticity of the plot details, adding more elements of Chinese cultural connotations, supplementing with concluding remarks, and ultimately forming the abstract of this article.

==Introduction==
===Prompt:===
6. Help me collect suitable materials and write a general introduction about ''The Investiture of the Gods''. Requirement: Approximately 400 words.
===Problems with the output results：===
The summary of the output text is not strong enough, and it is presented in the form of a list of various items, which cannot allow readers to intuitively grasp the core content.
===The Prompt I modified:===
7. Please use a paragraph to introduce ''The Investiture of the Gods'', which should cover the basic information of the novel, be complete, clear and easy to understand, and remove the list of items.

==Plot Summary:==
===Prompt:===
8. Please help me introduce the main storyline of ''The Investiture of the Gods''
===Problems with the output results：===
The answers generated by AI are too colloquial and not written enough, which is not conducive to foreign readers' viewing, and the plot focus is not prominent enough.
===The Prompt I modified:===
9. The plot introduction and output expression are more in line with the expression of the paper, and highlight the key plot, making it easier for foreign readers to grasp the development of the story

==Cultural Significance：==
===Prompt:===
10. Please introduce to me the cultural connotations in ''The Investiture of the Gods''
===Problems with the output results：===
AI provides many cultural connotations in the form of frameworks, but there is no classification
===The Prompt I modified:===
Based on the collected literature content, I selected the corresponding entries and elaborated on the connotations that are suitable for foreign readers to understand and conducive to the promotion of Chinese culture.

==Questions==
===Prompt:===
11. Based on the above full text, help me raise five questions about ''The Investiture of the Gods''
===Problems with the output results：===
The initial question generated by AI is overly complex, involving excessive adaptations of the novel and cross-textual comparisons, which are not suitable for foreign readers who are reading it for the first time.
===The Prompt I modified:===
12.Simplify the questions so that foreign readers who are reading it for the first time can understand them easily. The questions can focus on the story plot and main characters.

==Answers:==
===Prompt:===
13. Based on the questions in the text, generate answers to the questions, with the requirement of searching for answers from the main content of the text
The output results met my expectations, so no further modifications were made.

==Translation refinement and quality assessment==
===Prompt:===
Please help me polish the translation based on the provided Chinese-English bilingual texts. The requirements are as follows: Check for any grammatical errors, mistranslations, logical inconsistencies, incorrect translations, and omissions. Also, please inform me of how to make the necessary corrections.
Based on the translation suggestions provided by AI, I made modifications and polished the English translation, ultimately resulting in the final article

=文学：中国古典小说《封神演义》=
肖璐雨 202470081581

=摘要=
《封神演义》是中国古代一部经典神魔小说，由明代许仲琳创作，以商周易代为背景，融合历史、神话与民间信仰，构建了一个宏大的神魔世界。小说讲述了姜子牙辅佐周武王伐纣，与阐教、截教众仙斗法封神的故事，塑造了姜子牙、哪吒、杨戬等经典形象。

近年来，《封神演义》通过影视改编在全球范围内引发热议，成为中华文化外宣的重要范例。其融合的中国上古神话与历史传说，通过现代电影语言展现，不仅传递了正义战胜邪恶、忠诚与背叛等永恒主题，更展示了中华文化的深厚底蕴与独特魅力。《封神演义》的国际化传播，促进了中外文化交流，让世界观众领略到中华文化的博大精深。它不仅是文学艺术的瑰宝，更是连接不同文化的桥梁，为中外文化交流与合作注入了新的活力。

本文在此背景下，对《封神演义》小说进行主要情节、文化内涵、以及对中国文学影响的主要介绍，以期让中外读者更好的了解其中的中华文化内涵，促进中外文化的深入交流与传播。

=介绍：=
《封神演义》是中国古典文学史上的长篇神魔小说，又名《封神榜》、《商周列国全传》、《武王伐纣外史》。作者为许仲琳，约成书于明朝隆庆或万历年间（1567-1619年），与《西游记》《三国演义》《水浒传》并称“四大奇书”。

故事以商朝末期周文王、周武王推翻商纣王暴政的历史故事为主要线索，加入了天上的神仙并分为阐教与截教，分别辅佐周武王和商纣王，双方各显神通祭宝斗法，最后阐教与周武王一方获得胜利的故事(陈晓伟、史茗瑶,2020)。作者在书中融合了大量民间传说、神话故事和道教与儒释元素，构建了一个宏大的神话世界。

=主要情节梗概：=
==纣王暴政==
故事发生在商朝末年，纣王虽有才智，却性情刚愎、自负不逊。在女娲庙中，他不敬神明，写下轻薄诗句，引发天怒。女娲娘娘为惩戒人间，派出九尾狐下凡，附身妲己，进入宫中迷惑纣王。从此，纣王沉迷酒色，修建奢靡的酒池肉林，制造炮烙酷刑，残害忠臣比干、梅伯，致使朝政崩坏，百姓怨声载道，天下民心尽失。

==姜子牙下山==
天道有序，为了扶助明主，元始天尊命其弟子姜子牙下山，辅佐西伯侯姬昌（即周文王）。姜子牙虽年迈，但智慧非凡，手持“封神榜”与“打神鞭”，肩负封神重任。在他协助下，西岐国力日盛，逐渐形成以仁义为本的强大势力。文王死后，太子姬发继位，即周武王，继续推行伐纣大计。

==神魔大战==
随着周伐商之战全面展开，双方神仙纷纷下凡参战。周朝作为正派一方汇聚了哪吒、杨戬、雷震子、土行孙等英勇神将，个个身怀绝技，拥有强大法宝，如乾坤圈、风火轮、哮天犬等。而反派阵营商纣方则有申公豹为代表，不断招揽妖魔鬼怪，如赵公明、金灵圣母、魔家四将、截教十天君等。战争过程中，神魔斗法场面恢宏，法宝激战，仙术飞腾，奇门遁甲频现。许多英雄在战斗中壮烈牺牲，他们的元神则被姜子牙收录，用于日后封神。整个过程既是人间战争，更是天界的较量。

==商亡周兴，封神榜出==
最终，周武王亲自统领大军，一举攻破朝歌。纣王在鹿台纵火自焚，妲己被斩，商朝正式灭亡，周朝建立，天下归于安定。大战落幕后，姜子牙奉天命，在封神台公布“封神榜”，将阵亡的有功神仙纷纷册封，如托塔天王李靖、文曲星、瘟神、雷公等，重建天界秩序。

==天地归位，神道初成==
封神完成，三界秩序重建，众神各司其职，维系天地安宁。姜子牙功成身退，归隐于昆仑山之中。《封神演义》至此落幕。

=文化内涵:=
==道教与佛教思想的融合==
“道”是中国古代哲学的重要范畴，用以说明世界的本原、本体、规律或原理。道的原始涵义指道路、坦途，以后逐渐发展为道理，用以表达事物的规律性。书中道教思想集中体现在阐截之争，讲究宿命论，追求羽化而成仙。《封神演义》暗合了道教“天数命定”的宿命论。例如：“成汤气数已尽，周室当兴”(崔雪茹、尹倩,2022)。而书中的阐教与截教的斗争，实则提倡“惟道独尊”的宗教理念为基础，构建了错综复杂的宗教体系，从中彰显出三教合一的价值取向(谢金良,2014)。姜子牙封神、哪吒莲花化身等情节则体现了道教的修炼成仙思想。而如来佛祖、观音菩萨等佛教人物的出现，以及轮回转世的观念，则反映了佛教的影响。这种三教合一的思想，是明代宗教文化的重要特征，也是《封神演义》文化内涵的重要组成部分。

==忠孝仁义等传统道德观念==
《封神演义》通过人物形象和故事情节，弘扬了忠孝仁义等传统道德观念。例如，比干剖心、黄飞虎反商等情节，体现了忠君爱国和孝道；哪吒剔骨还父、割肉还母，虽然带有悲剧色彩，但也反映了孝道的极端表现。西岐的繁荣与商朝的腐朽形成鲜明对比，歌颂了周文王的仁德、周武王的仁义，以及姜子牙的辅佐之功，体现了儒家“仁者爱人”、“以德服人”的政治理想。这些故事传递了儒家忠孝仁义道德观的核心价值观，对后世产生了深远影响。

==善恶对立与宿命论==
《封神演义》中姜子牙、武王为代表的阐教为正派势力与以纣王为代表的截教为反派势力体现了善恶对立的两军对垒。而善恶的迥异立场以及命运走向潜藏在灾难叙事之中，书中截教引瘟疫入阐教阵营，以阐教一方杨戬访三圣后得到解药而告终，呈现了善恶两种力量面对灾难时的反应，善为救民治灾者，恶为造瘟作灾者。在灾害故事中，善恶势必产生巨大分歧，终究分道而行，两者的终极命运也因此不同(李萌乐、李建武,2022)。

=对中国文学的影响:=
中国古典文学指的是代表中国哲学、历史和文化传承的古代文本(Fangfang Su; Shuhong Zhao,2025,01)。《封神演义》作为代表中国古代哲学、历史文化的古代文本，将史实和民间流传的故事传说杂糅，借助大胆的想象和高度夸张，将不同事物用改造、连缀、拼接等方式巧妙融合为一体。其叹为观止的艺术想象集中体现在对人物、宝物和法术、神魔斗法场面的描写和刻画方面(陈科,2022)，丰富了中国文学的神话体系。

作为中国古典文学的重要体裁和叙事传统，传奇在现代文学的历史实践中，被不同作家以独特的个人风格传承并发展(Xing Wang,2023,6(05))。《封神演义》采用历史与神话交织的传奇叙事手法，将商周之争转化为阐截两教的神仙斗法。这种创作模式既兼顾了历史事件的真实性，又通过神魔元素增强了传奇色彩。这奠定了中国古代神魔小说的史诗格局，并影响了后世中国文学的创作模式。

最后，书中所表达的以有道伐无道、重民本的思想，符合主流价值观；其所表现的学术思想与文学艺术价值，符合社会发展规律；所表现的忠孝仁义道德伦理与民族品格，符合民族精神；所表现的反礼教反纲常的思想，在新时代仍然具有十分重要的价值(刘泽华,2023),其价值观念影响了后世的文学价值观念的传播。

=参考文献=
[1]许仲琳.封神演义[M].中华书局:200901.726.

[2]陈晓伟,史茗瑶.《封神演义》媒介转化的价值衍变与美学重构[J].电影评介,2020,(10):55-58.

[3]崔雪茹,尹倩.《封神演义》中的道教思想探析[J].徐州工程学院学报(社会科学版),2022,37(01):31-37.

[4]谢金良.《封神演义》的宗教神学体系辨析[J].老子学刊,2014,(00):197-209.

[5]李萌乐,李建武.原型批评理论视域下的《封神演义》文化研究[J].名作欣赏,2022,(30):19-22.

[6]陈科.《封神演义》的历时性传播与当代价值[D].湖北民族大学,2022.

[7]刘泽华.谈《封神演义》的现实立论及传统文化审视[J].中华活页文选(传统文化教学与研究),2023,(02):7-9.

[8]Su F ,Zhao S .Analysis of Chinese classical literature texts and prediction of internet language trends based on natural language processing[J].Journal of Computational Methods in Sciences and Engineering,2025,25(2):1246-1260.

[9]Wang X .The Inheritance and Development of Legendary Tradition in Modern Chinese Literature[J].Lecture Notes on Language and Literature,2023,6(5):.

=术语=
The Investiture of the Gods《封神演义》

Investiture List 封神榜

Universe Ring 乾坤圈

Wind-Fire Wheels 风火轮

Da Shen Bian 打神鞭

Nine-tailed fox 九尾狐

Deer Terrace 鹿台

Mount Kunlun 昆仑山

Jiang Ziya 姜子牙

Shen Gongbao 申公豹

Primordial Lord of Heaven 元始天尊

Chan Sect 阐教

Jie Sect 截教

Harmony of Three Teachings: Confucianism, Buddhism, Taoism 三教合一

Predestined Fate of Heaven 天数命定

Loyalty, Filial Piety, Benevolence, and Righteousness 忠孝仁义

Pools of wine and forests of hanging meat 酒池肉林

=问题：=
1.纣王暴政的具体表现有哪些？

2.姜子牙下山的使命是什么？

3.哪吒“剔骨还父”和比干“剖心”这两个情节，分别反映了哪些传统道德观念？

4.为什么说商周之战本质是“善恶对立”？截教与阐教的行为如何体现这一点？

5.与西方神话相比，《封神演义》的神魔斗争有何文化独特性？

=答案：=
1.不敬神明、沉迷酒色、建酒池肉林、制炮烙酷刑、残害忠臣。

2.奉元始天尊之命，携封神榜与打神鞭下山辅佐周文王与武王伐纣，完成封神重任，重建天界秩序。

3.哪吒：孝道的极端表现；比干：忠君爱国

4.阐教：救民治灾，如杨戬寻解药治瘟疫；截教：造灾害民，如散播瘟疫。

5.三教融合：道教宿命论同佛教轮回观与儒家忠孝仁义

File:The Investiture of the Gods.5.jpg

2025-06-15T10:26:30Z

Xiao Luyu:

File:The Investiture of the Gods.4.jpg.png

2025-06-15T10:26:17Z

Xiao Luyu:

File:The Investiture of the Gods.3.jpg

2025-06-15T10:26:00Z

Xiao Luyu:

User:Xiao Luyu

2025-06-15T10:25:36Z

Xiao Luyu:

'''Literature:Chinese classical novel ''The Investiture of the Gods'''''
Xiao Luyu 202470081581

=Abstract=
''The Investiture of the Gods'' is a classic Chinese supernatural novel written by Xu Zhonglin in the Ming Dynasty. Set against the backdrop of the transition from the Shang to the Zhou Dynasty, it integrates history, mythology, and folk beliefs to construct a grand world of gods and demons. The novel narrates the story of Jiang Ziya assisting King Wu of Zhou in overthrowing the tyrant King Zhou of Shang, engaging in battles of sorcery with immortals from the Chan and Jie sects to confer divine titles, and shaping iconic characters such as Jiang Ziya, Nezha, and Yang Jian.

In recent years,''The Investiture of the Gods'' has sparked heated discussions worldwide through its film and television adaptations, becoming a significant example of China's cultural outreach. By presenting ancient Chinese myths and historical legends through modern cinematic language, it not only conveys timeless themes such as the triumph of justice over evil, loyalty, and betrayal but also showcases the profound heritage and unique charm of Chinese culture. The international dissemination of Investiture of the Gods has facilitated cultural exchanges between China and foreign countries, enabling global audiences to appreciate the richness and depth of Chinese culture. It is not only a treasure of literary art but also a bridge connecting different cultures, injecting new vitality into cultural exchanges and cooperation between China and foreign countries.

Against this backdrop, this paper provides an introduction to the main plot, cultural connotations, and impact on Chinese literature of the novel ''The Investiture of the Gods'', aiming to enable both Chinese and foreign readers to better understand the Chinese cultural connotations within it and promote in-depth cultural exchanges and dissemination between China and foreign countries.

=Introduction:=
''The Investiture of the Gods'' is a long-form mythical fantasy novel in the history of Chinese classical literature, also known as ''The Investiture List, Chronicles of the Shang and Zhou Kingdoms, and The Unofficial History of King Wu’s Conquest of Zhou''. Authored by Xu Zhonglin, it was written approximately during the Longqing or Wanli era of the Ming Dynasty (1567–1619) and is renowned as one of the "Four Great Masterpieces of the “Ming Dynasty” alongside Journey to the West, Romance of the Three Kingdoms, and Water Margin.

The story centers on the historical narrative of King Wen of Zhou and King Wu of Zhou overthrowing the tyrannical rule of King Zhou of Shang during the late Shang Dynasty. It incorporates celestial deities divided into the Chan Sect and Jie Sect, who support King Wu of Zhou and King Zhou of Shang respectively. Both sides display supernatural powers and battle with magical treasures, culminating in the victory of the Chan Sect and King Wu’s faction (Chen Xiaowei & Shi Mingyao, 2020). The author blends extensive folklore, myths, Taoist elements, and Confucian-Buddhist concepts to construct a grand mythical universe.

=Plot Summary:=
==Tyranny of King Zhou==
Set in the late Shang Dynasty, King Zhou possesses intelligence but is arrogant and obstinate. Disrespecting the goddess Nvwa at her temple, he writes irreverent poetry, provoking divine wrath. To punish humanity, Nvwa sends a nine-tailed fox to possess Daji, who enters the palace and bewitches King Zhou. Consumed by decadence, King Zhou builds extravagant “pools of wine and forests of hanging meat,” invents the cruel “burning pillar torture,” and murders loyal ministers like Bi Gan and Mei Bo. His misrule leads to governmental collapse, widespread public resentment, and complete loss of popular support.
[[File:The_Investiture_of_the_Gods.1.jpg]]

==Jiang Ziya Descends the Mountain==
Following the order of heaven to assist a virtuous ruler, Primordial Lord of Heaven commands his disciple Jiang Ziya to descend the mountain and aid Ji Chang (King Wen of Zhou). Though elderly, Jiang Ziya possesses extraordinary wisdom. Armed with the “Investiture List” and “Da Shen Bian”, he shoulders the monumental task of enfeoffing gods. Under his guidance, the state of Xiqi grows powerful, establishing a force grounded in benevolence and righteousness. After King Wen’s death, his heir Ji Fa (King Wu of Zhou) ascends the throne and continues the campaign against Shang.
[[File:The Investiture of the Gods.2.jpg]]

==War of Gods and Demons==
As the Zhou-Shang war escalates, deities from both sides descend to intervene. The Zhou faction, representing righteousness, gathers heroic generals like Nezha, Yang Jian, Leizhenzi, and Tuxingsun, each wielding unique skills and powerful treasures (e.g., Nezha’s Universe Ring and Wind-Fire Wheels, Yang Jian’s Heavenly Hound). The Shang side, led by Shen Gongbao, recruits demons and monsters such as Zhao Gongming, Jinling Shengmu, the Four Demon Generals, and the Ten Tianjun of the Jie Sect. The war features epic battles between gods and demons, clashes of magical artifacts, soaring immortal techniques, and intricate mystic arts. Fallen heroes’ spirits are collected by Jiang Ziya for future deification. This conflict transcends human warfare, becoming a celestial struggle.

==Fall of Shang, Rise of Zhou & the Investiture List==
King Wu leads his army to capture Zhaoge, the Shang capital. King Zhou immolates himself on the Deer Terrace, Daji is executed, and the Shang Dynasty collapses. The Zhou Dynasty is established, restoring peace. Post-war, Jiang Ziya fulfills his heavenly mandate by proclaiming the “Investiture List” at the Investiture Platform, enfeoffing fallen deities like Li Jing (Pagoda-Bearing Heavenly King), the God of Literature, Plague God, and God of Thunder, thereby rebuilding celestial order.

==Restoration of Cosmic Order==
With the investiture complete, the Three Realms (Heaven, Earth, Underworld) are realigned, and deities assume their duties to maintain cosmic harmony. Jiang Ziya retires to Mount Kunlun, concluding the epic.

=Cultural Significance：=
==Fusion of Taoism and Buddhism:==
The novel integrates Taoist concepts like “Predestined Fate of Heaven”(e.g., “Shang’s destiny is exhausted; Zhou’s rise is ordained”(Cui Xueru & Yin Qian, 2022)) and the struggle between Chan and Jie Sects, which reflects the religious ideal of “Tao as Supreme” and a complex system embodying “Harmony of Three Teachings: Confucianism, Buddhism, Taoism”(Xie Jinliang, 2014). Taoist practices like deification (Jiang Ziya) and transcendence (Nezha’s “Lotus Rebirth”) are prominent. Buddhist influences include figures like “Tathagata Buddha and Guanyin Bodhisattva”, along with concepts of reincarnation. This syncretism reflects Ming Dynasty religious culture.

==Traditional Ethics: Loyalty, Filial Piety, Benevolence, Righteousness==
''The Investiture of the Gods'' promotes traditional moral concepts such as loyalty, filial piety, benevolence, and righteousness through its character portrayals and plotlines. For example, the episode of Bi Gan having his heart cut out and Huang Feihu's rebellion against Shang embody loyalty to the sovereign and patriotism; Nezha's act of returning his bones to his father and flesh to his mother, while tragic in nature, reflects an extreme manifestation of filial devotion. The stark contrast between Xiqi's prosperity and Shang's corruption extols King Wen of Zhou’s benevolent virtue, King Wu of Zhou’s righteous governance, and Jiang Ziya’s instrumental contributions, exemplifying the Confucian political ideals of “the benevolent love others” and “winning people over through virtue.” These narratives convey the core values of Confucian morality—loyalty, filial piety, benevolence, and righteousness, exerting a profound impact on later generations.

==Dichotomy of Good vs. Evil and Fatalism==
In ''The Investiture of the Gods'', the Chan Sect represented by Jiang Ziya and King Wu embodies the righteous force, while the Jie Sect led by King Zhou represents the villainous faction, reflecting a cosmic confrontation between good and evil. The divergent stances and destinies of these moral opposites are embedded within disaster narratives. For instance, the Jie Sect introduces a plague into the Chan Sect’s camp, which concludes only after the Chan Sect’s Yang Jian visits the Three Saints and obtains the antidote. This episode demonstrates how the two forces respond to calamity: the virtuous act as rescuers and healers, while the malevolent become creators and spreaders of disaster. Within such catastrophe-driven tales, the paths of good and evil inevitably diverge sharply, ultimately leading them onto separate trajectories and distinct fates (Li Mengle & Li Jianwu, 2022).

=Influence on Chinese Literature:=
Chinese classical literature refers to ancient texts that represent Chinese philosophy, history, and cultural heritage (Fangfang Su; Shuhong Zhao, 2025, 01). As an ancient text embodying ancient Chinese philosophy, history, and culture, ''The Investiture of the Gods'' blends historical facts with folk tales and legends, skillfully integrating diverse elements through bold imagination and hyperbolic exaggeration by means of transformation, connection, and splicing. Its astonishing artistic imagination is prominently displayed in the descriptions and portrayals of characters, treasures, sorcery, and scenes of battles between gods and demons (Chen Ke, 2022), thereby enriching the mythological system of Chinese literature.

As an important genre and narrative tradition in Chinese classical literature, the legend has been inherited and developed by different writers with their unique personal styles in the historical practice of modern literature (Xing Wang, 2023, 6(05)). ''The Investiture of the Gods'' employs a legendary narrative technique that intertwines history and mythology, transforming the conflict between the Shang and Zhou dynasties into a battle of sorcery between immortals from the Chan and Jie sects. This creative approach not only takes into account the authenticity of historical events but also enhances the legendary nature through the incorporation of supernatural and demonic elements. It has laid the foundation for the epic scale of ancient Chinese supernatural novels and influenced the creative patterns of subsequent Chinese literature.

The novel’s themes—just rebellion against tyranny, emphasis on popular welfare, moral ethics (loyalty, filial piety, benevolence, and righteousness), and critique of rigid orthodoxy—align with mainstream values, social evolution, national spirit, and retain relevance today (Liu Zehua, 2023), shaping subsequent literary values.

=References:=
[1] Xu Zhonglin. The Investiture of the Gods [M]. Zhonghua Book Company, 2009.

[2] Chen Xiaowei, Shi Mingyao. Value Evolution and Aesthetic Reconstruction of Media Adaptation of The Investiture of the Gods [J]. Movie Review, 2020(10):55-58.

[3] Cui Xueru, Yin Qian. Analysis of Taoist Thought in The Investiture of the Gods [J]. Journal of Xuzhou Institute of Technology (Social Sciences Edition), 2022,37(01):31-37.

[4] Xie Jinliang. Analysis of the Religious Theological System in The Investiture of the Gods[J]. Laozi Studies, 2014(00):197-209.

[5] Li Mengle, Li Jianwu. Cultural Study of The Investiture of the Gods from the Perspective of Archetypal Criticism [J]. Masterpieces Review, 2022(30):19-22.

[6] Chen Ke. Diachronic Dissemination and Contemporary Value of The Investiture of the Gods [D]. Hubei Minzu University, 2022.

[7] Liu Zehua. On the Realistic Arguments and Traditional Cultural Examination of The Investiture of the Gods [J]. Chinese Living Classics (Teaching and Research of Traditional Culture), 2023(02):7-9.

[8]Su F ,Zhao S .Analysis of Chinese classical literature texts and prediction of internet language trends based on natural language processing[J].Journal of Computational Methods in Sciences and Engineering,2025,25(2):1246-1260.

[9]Wang X .The Inheritance and Development of Legendary Tradition in Modern Chinese Literature[J].Lecture Notes on Language and Literature,2023,6(5):.

=Terms and Expressions:=
The Investiture of the Gods《封神演义》

Investiture List 封神榜

Universe Ring 乾坤圈

Wind-Fire Wheels 风火轮

Da Shen Bian 打神鞭

Nine-tailed fox 九尾狐

Deer Terrace 鹿台

Mount Kunlun 昆仑山

Jiang Ziya 姜子牙

Shen Gongbao申公豹

Primordial Lord of Heaven 元始天尊

Chan Sect 阐教

Jie Sect 截教

Harmony of Three Teachings: Confucianism, Buddhism, Taoism 三教合一

Predestined Fate of Heaven 天数命定

Loyalty, Filial Piety, Benevolence, and Righteousness忠孝仁义

Pools of wine and forests of hanging meat 酒池肉林

=Questions:=
1.What were the specific manifestations of King Zhou’s tyranny?

2.What was Jiang Ziya’s mission upon descending the mountain?

3.What traditional moral concepts do Nezha’s “returning bones to his father” and Bi Gan’s “heart extraction” reflect?

4.Why is the Zhou-Shang War fundamentally a battle of “Good vs. Evil”? How do the actions of the Jie and Chan Sects illustrate this?

5.Compared to Western mythology, what cultural uniqueness does the god-demon struggle in The Investiture of the Gods possess?

=Answers=
1.Disrespecting the gods, indulging in wine and women, constructing a "pool of wine and forest of meat," inventing the cruel punishment of cannae-like grilling, and persecuting loyal ministers.

2.Following the command of the Primordial Heavenly Lord, carrying the List of Gods and the Whip to Subdue Gods down the mountain to assist King Wen and King Wu of Zhou in overthrowing King Zhou of Shang, accomplishing the great task of conferring divine titles, and re-establishing the order of the celestial realm.

3.Nezha: An extreme manifestation of filial piety; Bi Gan: Loyal to the monarch and patriotic.

4.Chan Sect: Saving the people and mitigating disasters, such as Yang Jian seeking antidotes to cure the plague; Jie Sect: Creating disasters to afflict the people, such as spreading the plague.

5. Integration of the Three Teachings: The fusion of Daoist fatalism with Buddhist reincarnation beliefs and Confucian loyalty, filial piety, benevolence, and righteousness.

=AI Statement=
I used the AI tool of DeepSeek to assist in writing my final paper。The following are the details of my usage, the process I followed, as well as the prompts I gave and the modifications I made:

==Article Outline==
Since ''The Investiture of the Gods'' is a vast and ancient Chinese classical novel with a rich tapestry of content, first and foremost, I would like to leverage AI to systematically organize the relevant content of the entire book and determine the outline for my thesis.
===Prompt:===
1.Please introduce me to the novel ''The Investiture of the Gods''
===Problems with the output results：===
The response provided by the AI is too broad, with some content omitted, and the key points are not sufficiently highlighted, resulting in a chaotic logic. For example, the AI first introduces the author and the time of the book's composition, then moves on to the main plot and key characteristics, and finally concludes. This lacks logical coherence and makes it difficult for foreign readers to understand.
===The Prompt I modified:===
2.My target readers are foreigners. Please introduce this novel to me from the perspective of promoting Chinese culture and let me know the key content that needs to be introduced
Considering the limited length of the article and the target audience being foreign readers, I have decided to revise my thesis outline as follows: Abstract, Introduction, Brief Summary of Main Plot, Cultural Connotations, and Influence on Chinese Literature.

==Abstract==
===Prompt:===
3.I am currently writing an article to introduce the classical Chinese novel ''The Investiture of the Gods''. What content should I cover in the abstract section?
===Problems with the output results：===
While AI did inform me about the key points to cover in the abstract, such as the work's positioning and nature, core plot, and background, I find it rather general and lacking in specific examples.
===The Prompt I modified:===
4.Please use abstracts from other novels as examples and provide me with some specific examples for reference
Taking the introduction of Journey to the West as an example, AI provided a specific summary example. On this basis, I have clarified the specific content that the abstract of the novel introduction needs to cover, and believe that it is necessary to combine the theme of Chinese cultural publicity and grasp the reading experience of foreign readers. Therefore, I continued to revise the prompts.
5. Please imitate the above novel abstract to generate an article abstract that introduces the Chinese classical novel ''The Investiture of the Gods''. It is required to be written in Chinese with about 200 words, emphasizing the importance of Chinese culture publicity and cultural exchanges between China and foreign countries. The target audience is foreigners.
After the abstract is generated, I will revise it according to my thesis outline, which includes: adjusting the word order, eliminating informal language from the content, verifying the authenticity of the plot details, adding more elements of Chinese cultural connotations, supplementing with concluding remarks, and ultimately forming the abstract of this article.

==Introduction==
===Prompt:===
6. Help me collect suitable materials and write a general introduction about ''The Investiture of the Gods''. Requirement: Approximately 400 words.
===Problems with the output results：===
The summary of the output text is not strong enough, and it is presented in the form of a list of various items, which cannot allow readers to intuitively grasp the core content.
===The Prompt I modified:===
7. Please use a paragraph to introduce ''The Investiture of the Gods'', which should cover the basic information of the novel, be complete, clear and easy to understand, and remove the list of items.

==Plot Summary:==
===Prompt:===
8. Please help me introduce the main storyline of ''The Investiture of the Gods''
===Problems with the output results：===
The answers generated by AI are too colloquial and not written enough, which is not conducive to foreign readers' viewing, and the plot focus is not prominent enough.
===The Prompt I modified:===
9. The plot introduction and output expression are more in line with the expression of the paper, and highlight the key plot, making it easier for foreign readers to grasp the development of the story

==Cultural Significance：==
===Prompt:===
10. Please introduce to me the cultural connotations in ''The Investiture of the Gods''
===Problems with the output results：===
AI provides many cultural connotations in the form of frameworks, but there is no classification
===The Prompt I modified:===
Based on the collected literature content, I selected the corresponding entries and elaborated on the connotations that are suitable for foreign readers to understand and conducive to the promotion of Chinese culture.

==Questions==
===Prompt:===
11. Based on the above full text, help me raise five questions about ''The Investiture of the Gods''
===Problems with the output results：===
The initial question generated by AI is overly complex, involving excessive adaptations of the novel and cross-textual comparisons, which are not suitable for foreign readers who are reading it for the first time.
===The Prompt I modified:===
12.Simplify the questions so that foreign readers who are reading it for the first time can understand them easily. The questions can focus on the story plot and main characters.

==Answers:==
===Prompt:===
13. Based on the questions in the text, generate answers to the questions, with the requirement of searching for answers from the main content of the text
The output results met my expectations, so no further modifications were made.

==Translation refinement and quality assessment==
===Prompt:===
Please help me polish the translation based on the provided Chinese-English bilingual texts. The requirements are as follows: Check for any grammatical errors, mistranslations, logical inconsistencies, incorrect translations, and omissions. Also, please inform me of how to make the necessary corrections.
Based on the translation suggestions provided by AI, I made modifications and polished the English translation, ultimately resulting in the final article

=文学：中国古典小说《封神演义》=
肖璐雨 202470081581

=摘要=
《封神演义》是中国古代一部经典神魔小说，由明代许仲琳创作，以商周易代为背景，融合历史、神话与民间信仰，构建了一个宏大的神魔世界。小说讲述了姜子牙辅佐周武王伐纣，与阐教、截教众仙斗法封神的故事，塑造了姜子牙、哪吒、杨戬等经典形象。

近年来，《封神演义》通过影视改编在全球范围内引发热议，成为中华文化外宣的重要范例。其融合的中国上古神话与历史传说，通过现代电影语言展现，不仅传递了正义战胜邪恶、忠诚与背叛等永恒主题，更展示了中华文化的深厚底蕴与独特魅力。《封神演义》的国际化传播，促进了中外文化交流，让世界观众领略到中华文化的博大精深。它不仅是文学艺术的瑰宝，更是连接不同文化的桥梁，为中外文化交流与合作注入了新的活力。

本文在此背景下，对《封神演义》小说进行主要情节、文化内涵、以及对中国文学影响的主要介绍，以期让中外读者更好的了解其中的中华文化内涵，促进中外文化的深入交流与传播。

=介绍：=
《封神演义》是中国古典文学史上的长篇神魔小说，又名《封神榜》、《商周列国全传》、《武王伐纣外史》。作者为许仲琳，约成书于明朝隆庆或万历年间（1567-1619年），与《西游记》《三国演义》《水浒传》并称“四大奇书”。

故事以商朝末期周文王、周武王推翻商纣王暴政的历史故事为主要线索，加入了天上的神仙并分为阐教与截教，分别辅佐周武王和商纣王，双方各显神通祭宝斗法，最后阐教与周武王一方获得胜利的故事(陈晓伟、史茗瑶,2020)。作者在书中融合了大量民间传说、神话故事和道教与儒释元素，构建了一个宏大的神话世界。

=主要情节梗概：=
==纣王暴政==
故事发生在商朝末年，纣王虽有才智，却性情刚愎、自负不逊。在女娲庙中，他不敬神明，写下轻薄诗句，引发天怒。女娲娘娘为惩戒人间，派出九尾狐下凡，附身妲己，进入宫中迷惑纣王。从此，纣王沉迷酒色，修建奢靡的酒池肉林，制造炮烙酷刑，残害忠臣比干、梅伯，致使朝政崩坏，百姓怨声载道，天下民心尽失。

==姜子牙下山==
天道有序，为了扶助明主，元始天尊命其弟子姜子牙下山，辅佐西伯侯姬昌（即周文王）。姜子牙虽年迈，但智慧非凡，手持“封神榜”与“打神鞭”，肩负封神重任。在他协助下，西岐国力日盛，逐渐形成以仁义为本的强大势力。文王死后，太子姬发继位，即周武王，继续推行伐纣大计。

==神魔大战==
随着周伐商之战全面展开，双方神仙纷纷下凡参战。周朝作为正派一方汇聚了哪吒、杨戬、雷震子、土行孙等英勇神将，个个身怀绝技，拥有强大法宝，如乾坤圈、风火轮、哮天犬等。而反派阵营商纣方则有申公豹为代表，不断招揽妖魔鬼怪，如赵公明、金灵圣母、魔家四将、截教十天君等。战争过程中，神魔斗法场面恢宏，法宝激战，仙术飞腾，奇门遁甲频现。许多英雄在战斗中壮烈牺牲，他们的元神则被姜子牙收录，用于日后封神。整个过程既是人间战争，更是天界的较量。

==商亡周兴，封神榜出==
最终，周武王亲自统领大军，一举攻破朝歌。纣王在鹿台纵火自焚，妲己被斩，商朝正式灭亡，周朝建立，天下归于安定。大战落幕后，姜子牙奉天命，在封神台公布“封神榜”，将阵亡的有功神仙纷纷册封，如托塔天王李靖、文曲星、瘟神、雷公等，重建天界秩序。

==天地归位，神道初成==
封神完成，三界秩序重建，众神各司其职，维系天地安宁。姜子牙功成身退，归隐于昆仑山之中。《封神演义》至此落幕。

=文化内涵:=
==道教与佛教思想的融合==
“道”是中国古代哲学的重要范畴，用以说明世界的本原、本体、规律或原理。道的原始涵义指道路、坦途，以后逐渐发展为道理，用以表达事物的规律性。书中道教思想集中体现在阐截之争，讲究宿命论，追求羽化而成仙。《封神演义》暗合了道教“天数命定”的宿命论。例如：“成汤气数已尽，周室当兴”(崔雪茹、尹倩,2022)。而书中的阐教与截教的斗争，实则提倡“惟道独尊”的宗教理念为基础，构建了错综复杂的宗教体系，从中彰显出三教合一的价值取向(谢金良,2014)。姜子牙封神、哪吒莲花化身等情节则体现了道教的修炼成仙思想。而如来佛祖、观音菩萨等佛教人物的出现，以及轮回转世的观念，则反映了佛教的影响。这种三教合一的思想，是明代宗教文化的重要特征，也是《封神演义》文化内涵的重要组成部分。

==忠孝仁义等传统道德观念==
《封神演义》通过人物形象和故事情节，弘扬了忠孝仁义等传统道德观念。例如，比干剖心、黄飞虎反商等情节，体现了忠君爱国和孝道；哪吒剔骨还父、割肉还母，虽然带有悲剧色彩，但也反映了孝道的极端表现。西岐的繁荣与商朝的腐朽形成鲜明对比，歌颂了周文王的仁德、周武王的仁义，以及姜子牙的辅佐之功，体现了儒家“仁者爱人”、“以德服人”的政治理想。这些故事传递了儒家忠孝仁义道德观的核心价值观，对后世产生了深远影响。

==善恶对立与宿命论==
《封神演义》中姜子牙、武王为代表的阐教为正派势力与以纣王为代表的截教为反派势力体现了善恶对立的两军对垒。而善恶的迥异立场以及命运走向潜藏在灾难叙事之中，书中截教引瘟疫入阐教阵营，以阐教一方杨戬访三圣后得到解药而告终，呈现了善恶两种力量面对灾难时的反应，善为救民治灾者，恶为造瘟作灾者。在灾害故事中，善恶势必产生巨大分歧，终究分道而行，两者的终极命运也因此不同(李萌乐、李建武,2022)。

=对中国文学的影响:=
中国古典文学指的是代表中国哲学、历史和文化传承的古代文本(Fangfang Su; Shuhong Zhao,2025,01)。《封神演义》作为代表中国古代哲学、历史文化的古代文本，将史实和民间流传的故事传说杂糅，借助大胆的想象和高度夸张，将不同事物用改造、连缀、拼接等方式巧妙融合为一体。其叹为观止的艺术想象集中体现在对人物、宝物和法术、神魔斗法场面的描写和刻画方面(陈科,2022)，丰富了中国文学的神话体系。

作为中国古典文学的重要体裁和叙事传统，传奇在现代文学的历史实践中，被不同作家以独特的个人风格传承并发展(Xing Wang,2023,6(05))。《封神演义》采用历史与神话交织的传奇叙事手法，将商周之争转化为阐截两教的神仙斗法。这种创作模式既兼顾了历史事件的真实性，又通过神魔元素增强了传奇色彩。这奠定了中国古代神魔小说的史诗格局，并影响了后世中国文学的创作模式。

最后，书中所表达的以有道伐无道、重民本的思想，符合主流价值观；其所表现的学术思想与文学艺术价值，符合社会发展规律；所表现的忠孝仁义道德伦理与民族品格，符合民族精神；所表现的反礼教反纲常的思想，在新时代仍然具有十分重要的价值(刘泽华,2023),其价值观念影响了后世的文学价值观念的传播。

=参考文献=
[1]许仲琳.封神演义[M].中华书局:200901.726.

[2]陈晓伟,史茗瑶.《封神演义》媒介转化的价值衍变与美学重构[J].电影评介,2020,(10):55-58.

[3]崔雪茹,尹倩.《封神演义》中的道教思想探析[J].徐州工程学院学报(社会科学版),2022,37(01):31-37.

[4]谢金良.《封神演义》的宗教神学体系辨析[J].老子学刊,2014,(00):197-209.

[5]李萌乐,李建武.原型批评理论视域下的《封神演义》文化研究[J].名作欣赏,2022,(30):19-22.

[6]陈科.《封神演义》的历时性传播与当代价值[D].湖北民族大学,2022.

[7]刘泽华.谈《封神演义》的现实立论及传统文化审视[J].中华活页文选(传统文化教学与研究),2023,(02):7-9.

[8]Su F ,Zhao S .Analysis of Chinese classical literature texts and prediction of internet language trends based on natural language processing[J].Journal of Computational Methods in Sciences and Engineering,2025,25(2):1246-1260.

[9]Wang X .The Inheritance and Development of Legendary Tradition in Modern Chinese Literature[J].Lecture Notes on Language and Literature,2023,6(5):.

=术语=
The Investiture of the Gods《封神演义》

Investiture List 封神榜

Universe Ring 乾坤圈

Wind-Fire Wheels 风火轮

Da Shen Bian 打神鞭

Nine-tailed fox 九尾狐

Deer Terrace 鹿台

Mount Kunlun 昆仑山

Jiang Ziya 姜子牙

Shen Gongbao 申公豹

Primordial Lord of Heaven 元始天尊

Chan Sect 阐教

Jie Sect 截教

Harmony of Three Teachings: Confucianism, Buddhism, Taoism 三教合一

Predestined Fate of Heaven 天数命定

Loyalty, Filial Piety, Benevolence, and Righteousness 忠孝仁义

Pools of wine and forests of hanging meat 酒池肉林

=问题：=
1.纣王暴政的具体表现有哪些？

2.姜子牙下山的使命是什么？

3.哪吒“剔骨还父”和比干“剖心”这两个情节，分别反映了哪些传统道德观念？

4.为什么说商周之战本质是“善恶对立”？截教与阐教的行为如何体现这一点？

5.与西方神话相比，《封神演义》的神魔斗争有何文化独特性？

=答案：=
1.不敬神明、沉迷酒色、建酒池肉林、制炮烙酷刑、残害忠臣。

2.奉元始天尊之命，携封神榜与打神鞭下山辅佐周文王与武王伐纣，完成封神重任，重建天界秩序。

3.哪吒：孝道的极端表现；比干：忠君爱国

4.阐教：救民治灾，如杨戬寻解药治瘟疫；截教：造灾害民，如散播瘟疫。

5.三教融合：道教宿命论同佛教轮回观与儒家忠孝仁义

2025-05-30T03:25:28Z

Xiao Luyu:

Chin Lang Cult Fin Exam Spring 2025

2025-04-28T04:56:52Z

Chinese Language and Culture, Spring 2025

2025-02-24T03:20:28Z

Xiao Luyu: /* Teacher presentation: Introduction to Culture */

[[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]]

[[File:Example.jpg]]==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

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)

38. Education: Ancient Chinese Education 350

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

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 (Duan Binyao)

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

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

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

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

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272

132. Silk and porcelain: Porcelain 1277 （Fei Xinyu)

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 (Li Jiayi)

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（Chen Lin）

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450 (Li Jiayi)

153. Traditional Cuisine: Eight Major Cuisines of China 1456(Liu peini)

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 （Zeng Zhi）

170. Fine Arts: Chinese Paper Cutting 1601 （Luo Jiaxin）

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644

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

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694

180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）

181. Animals：Golden Monkey 1712

182. Chinese Economy: rich businessmen 1719

183. Opera: Chinese Local Operas 1727

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767（Gao Xiaoqing）

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

193. Science and Technology: Buytogether（PDD) 1825

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

195. Sports: Cuju (蹴鞠) 1845

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

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

202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）

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

204. Stand-up comedy 单口喜剧 1845

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845

208. Chinese traditional ornament: Buyao （步摇） 1845

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

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

230. Gayageum（伽倻琴） 1845

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

232. Sun Wukong（孙悟空） 1845

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

234. Dragon Lantern Dance（舞龙灯） 1845

235. Bamboo Weaving (竹编） 1845

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

239. Female Emperor---Wu Zetian 1845

240. Clay sculpture (泥塑） 1845

241. Abacus (中国珠算） 1845

242. Hunan Rice Noodles（湖南米粉） 1845 （Ou Huang）

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 (Chen Zhen)

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

247. Carved lacquer（雕漆） 1845

248. Jing Gang Mountain (井冈山） 1845

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

250. Language: Hakka Dialect（客家话） 1845

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

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

253. Yuelu Mountain (岳麓山) 1845

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

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

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

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) 1845 （Ou Huang）

263. Shaolin Temple (少林寺) 1845

264. Single bamboo drifting（独竹漂） 1845

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

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

277. Mirror (镜子) 1845

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

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

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

281. Music and instruments: Yangqin（扬琴） 1845

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

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

=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)

=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]]