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User:Yang Jiahong2

2025-06-18T05:19:06Z

Yang Jiahong2:

== Southern Fujian Red Brick Ancient Houses ==
[[File:Pict 6.jpg]]

'''Minnan Red Brick Ancient Houses'''

=== Introduction ===

Southern Fujian red brick ancient houses are unique traditional dwellings in the Minnan region(southern Fujian), distinguished by their extensive use of red bricks with high density. Their architectural forms have evolved into a distinct style over a millennium of historical accumulation. Most buildings in China feature gray tiles and blue bricks, with only minor differences between northern and southern styles. However, Minnan red brick ancient houses stand out as a unique architectural system. With a large number of such structures, they embody profound cultural connotations and historical value, making them one of the most representative traditional architectures in Minnan. In 2012, Minnan red brick ancient houses were listed in China's World Heritage Tentative List.

=== Historical Origins of Red Brick Ancient Houses ===
The history of Minnan red brick ancient houses can be traced back to the Guanghua Period of Emperor Zhaozong in the Tang Dynasty. At that time, the princess consort of the Min King was permitted to build palace-style houses, which were imitated by ordinary people, gradually forming the architectural style of Minnan ancient houses. In the Minnan dialect, "cuo" means "houses", and ancient houses built with red bricks became the most representative traditional dwellings in the region.

Red brick ancient houses are also known as "Huang gong qi" ("palace-style") because their swallow-tail ridges and decorative styles mimic those of imperial palaces. Initially, swallow-tail ridges were only used in temple architecture, but over time, they became an important feature of Minnan architecture, reflecting unique local characteristics. Minnan people have a special preference for the color red. The vibrant hue of red brick houses and their ornate exteriors not only symbolize the Minnan people’s yearning for a regal and prosperous lifestyle but also demonstrate their ingenuity. In an area with scarce stone resources, they cleverly combined red bricks with stones to create the "brick and stone interlocking" construction technique, which not only solved housing problems but also preserved the local architectural style, achieving a perfect integration of materials and form.

[[File:Pict 2.jpg]]

'''swallow-tail ridges'''

[[File:Pict 3.jpg]]

'''brick and stone interlocking'''

With historical development, the Minnan region became an important maritime trade port during the Song and Yuan dynasties, facilitating frequent exchanges with foreign cultures. This period saw the blending of foreign and local cultures, which influenced the architectural style of red brick ancient houses. While retaining traditional elements, they absorbed some foreign influences, further enriching their cultural connotations.

=== Architectural Characteristics of Red Brick Ancient Houses ===
Traditional Minnan ancient houses are primarily constructed with wooden structures, often centered around a courtyard, emphasizing axial symmetry and hierarchical spatial division. This layout reflects the spatial philosophy of traditional Chinese architecture, creating a rigorous and orderly living environment. The structural framework mainly uses the "lifted beam" or "dougong bracket" system, absorbing the essence of traditional Chinese architecture to ensure stability and durability.

Minnan ancient houses typically face south, with distinct exterior features: red brick and white stone walls, hard mountain-style roofs, and double-curved swallow-tail ridges. The main body of the house is built with solid brick walls, while the exterior walls combine stone skirting and red brick masonry, creating a sturdy and massive appearance. The brick walls under the eaves contrast sharply with the stone skirting. In terms of visual aesthetics, the stones in the walls serve as "planes" and "points," while the brick joints act as "lines," skillfully using the three elements of form beauty (point, line, plane). The entire brick wall resembles a planar composition work of formal beauty, showcasing unique aesthetic value.

The decorative art of Minnan red brick ancient houses is rich and diverse, with patterns and symbols reflecting the inheritance of Han culture in architecture. Traditional Chinese decorative motifs, such as cloud scrolls and floral patterns, are widely used. For example, the gables of Minnan houses invert the "cloud qi" motif from Han Dynasty lacquerware, which symbolizes good luck, and adapt it to the triangular shape of the roof gable, creating the "ruyi head" motif. Red brick walls are also inlaid with various motifs, including pavilions, historical figures, heroic women, auspicious characters, begonia flowers, and acacia trees, each carrying rich symbolism. For instance, the hexagonal tortoise represents longevity, the octagon symbolizes good fortune, coins signify wealth, lotus flowers embody integrity, and pomegranates symbolize abundance. Expressing good wishes through these patterns embodies the characteristic of "every pattern has a meaning, and every meaning is auspicious," following the developmental law of decorative motifs in traditional Chinese dwellings.

[[File:Pict 4.jpg]]

'''patterns'''

=== Cultural Significance of Red Brick Ancient Houses ===
Minnan red brick ancient houses serve as important witnesses to the region’s history and culture, documenting thousands of years of development in Minnan. Many of these houses are former residences of notable figures or historical relics, carrying the footprints and glory of ancestors and reflecting the social economy, culture, art, and lifestyle of Minnan in different historical periods. Through the study of red brick ancient houses, we can gain insight into the historical changes of the Minnan region and trace the developmental context of Minnan culture.

Red brick ancient houses are closely intertwined with the folk culture of Minnan, serving as important carriers of folk traditions. In these houses, daily life, traditional festivals, weddings, funerals, and other folk activities follow unique customs and rituals. For example, during the Spring Festival, Minnan people hold ancestor-worshipping ceremonies, paste Spring Festival couplets, and hang lanterns in their ancient houses; during weddings, couples perform traditional hall-bowing rituals. These folk activities not only preserve the traditional culture of Minnan but also strengthen family cohesion and identity. Additionally, the decorative patterns and architectural details of ancient houses contain rich folk cultural connotations, such as auspicious motifs that reflect the Minnan people’s yearning for a better life.

The spiritual and cultural connotations of Minnan ancient houses, including concepts of home and local sentiment, are integral to the identity and cultural inheritance of Minnan people. They are not merely living spaces but also spiritual homelands that concentrate the emotions and memories of Minnan people and inherit the cultural genes of the region.

=== Conclusion ===
Red brick ancient houses are a crystallization of the wisdom of Minnan people and an important basis for studying Minnan history. In today’s pluralistic society, we should draw on the essence of Minnan red brick ancient houses and apply it to modern architecture. This not only presents a unique aesthetic but also protects and utilizes these traditional dwellings, ensuring the continuation of Minnan’s cultural heritage. We should not allow traditional culture to be lost but instead pass it down from generation to generation.

=== References ===

[1] Chen Qing. Analysis of the "Red Brick Culture" in the Decoration of Traditional Quanzhou Dwellings [J]. Journal of Nanjing University of the Arts (Fine Arts and Design Edition), 2009(5): 30.

[2] Wang Xingang. A Study on the Regional Characteristics of Exterior Wall Decoration of Minnan Red Brick Ancient Houses. Fujian Architecture, 2016.

[3] Wu Limin. A Preliminary Study on the Architectural Style of Quzhou Red Brick Houses [D]. Jimei University Art Investigation Report and Graduation Thesis, 2006: 9.

[4] Li Lin, Zhou Xiaoru. On the Cultural Connotations of Minnan Red Brick Ancient Houses [J]. Intelligence, 2018.

[5] Huang Hanmin. Traditional Dwellings of Fujian [M]. Beijing: China Architecture & Building Press, 2009.

[6] Dai Zhijian. Traditional Architecture of Minnan [M]. Xiamen: Xiamen University Press, 2006.

=== Terms and Expressions ===

Minnan red brick ancient houses 闽南红砖古厝

China's World Heritage Tentative List 世界名录预备名录

swallow-tail ridges 燕尾脊

brick and stone interlocking 出砖入石

lifted beam system 抬梁式

dougong bracket system 穿斗式

hard mountain-style roofs 硬山式屋顶

cloud scrolls 云卷纹

floral patterns 花草纹

hexagonal tortoise 六角龟

octagon 八角

coin motifs 钱币纹

lotus patterns 莲花纹

pomegranate motifs 石榴纹

=== Questions ===

1.When were Minnan red brick ancient houses listed in China's World Heritage Tentative List?

2.What architectural feature gives Minnan red brick ancient houses their alias "Huang Gong qi" ("palace-style")?

3.What are the two main traditional structural systems used in Minnan ancient houses?

4.What problem in the Minnan region did the "brick and stone interlocking" construction technique solve?

5.In the decorative art of Minnan red brick ancient houses, what do the "hexagonal tortoise" and "lotus" motifs symbolize respectively?

=== AI statement ===
To help me to write my finnal paper, I have used the following AI chatbot: Doubao

For the Chinese part, I first read multiple relevant papers, summarized the cultural connotations embodied in Minnan red brick ancient houses, constructed the writing ideas and framework of the paper, and used Doubao to polish my language, improving the precision and naturalness of the language.

For the English part, I used Doubao to assist translating the Chinese into English and manually corrected the terms and expressions.

== 闽南红砖古厝 ==

=== 引言 ===
闽南红砖古厝是闽南地区特有的传统的传统民居，其独特之处在于使用密度极高的红砖为材料，其形式在千年历史长河积淀下成一家言。中国大多数建筑都是灰瓦青砖，南北方虽有差异但大同小异，闽南的红砖古厝却独树一帜，这些建筑数量众多，具有深厚的文化内涵和历史价值，是闽南最具代表性的传统建筑之一。闽南红砖古厝于2012年被列入中国世界名录预备名录。

=== 红砖古厝的历史渊源 ===
闽南红砖古厝的历史可追溯至唐昭宗光化年间。当时，闽王王妃被允许建造皇宫式房屋，普通百姓纷纷效仿，逐渐形成了闽南古厝的建筑风格。在闽南语中，“厝”意为房子，而采用红砖建造的古厝成为了闽南地区最具代表性的传统民居。

红砖古厝又被称为“皇宫起”，因其燕尾脊及装饰风格仿照皇宫建筑形式。起初，燕尾脊只用于庙宇建筑，后来在长期的社会发展过程中，逐渐成为闽南建筑的重要组成部分，体现出独特的地方特色。闽南人喜爱红色，红砖古厝鲜艳的颜色和华丽的建筑外观，既体现了闽南人对宫廷式富贵生活的向往，也展示了他们的聪明才智。他们在石材相对匮乏的情况下，巧妙地将红砖与石材结合，创造出“出砖入石”的建筑形式，及解决了住房问题，又保留了本土建筑风格，实现了建筑材料与形式的完美融合。

随着历史的发展，闽南地区在宋元时期成为重要的海上贸易港口，对外交流频繁。这一时期，外来文化与本土文化相互交融，也在一定程度上影响了红砖古厝的建筑风格，使其在保留传统的基础上，吸收了一些外来元素，进一步丰富了自身的文化内涵。

=== 红砖古厝的建筑特点 ===
传统闽南古厝建筑构造以木结构为主，常以四合院为中心，突出中轴对称和空间主次区分的特点，这种布局方式体现了中国传统建筑的空间理念，营造出严谨、有序的居住环境。建筑的营造结构多采用抬梁式或穿斗式为主的举架形式，充分吸收了中国传统建筑的精髓，保证了建筑的稳定性和耐久性。

闽南古厝坐北朝南，具有鲜明的外观特征，其红砖白石墙体、硬山式屋顶和双翘燕尾脊极具辨识度。屋身为实砌砖墙，外墙采用石构墙裙和红砖砌建、坚实厚重。檐下墙体使用砖墙，与石构墙裙形成鲜明对比，在建筑外观上，石块在墙体中作为面、点存在，砖缝作为线存在，巧妙地运用了点、线、面这三个形式美的构成元素，使得整个砖墙在宏观上犹如一幅极具形式美的平面构成作品，展现出独特的美学价值。

闽南红砖古厝的装饰艺术丰富多彩，图案内容以及负载的象征体现了汉文化在建筑中的传承。建筑中广泛运用中国传统纹样元素，如常见的云卷纹、花草纹等。闽南山墙将汉代漆器中育有吉祥如意之意的云气纹倒置，使其恰好适用于屋顶山墙的三角形，寓意“云如意头”。红砖墙面还镶嵌了各种各样的团，包括楼台人物、巾帼英雄、吉寿文字、海棠花、相思树等，这些墙饰都具有丰富的象征和寓意。例如，六角龟寓意长寿，八角寓意吉祥，钱币寓意财富，莲花寓意清正，石榴寓意硕果累累等。通过这些图案及纹样表达美好愿望，是闽南红砖古厝装饰艺术的一大特点，体现了“图必有意，意必吉祥”的中国传统民居装饰纹样发展规律。

=== 红砖古厝的文化意义 ===
闽南红砖古厝是闽南地区历史文化的重要见证，它记载了闽南地区数千年来的发展历程，许多红砖古厝是名人故居或历史遗存，承载着先人的足迹与辉煌，反映了不同历史时期闽南地区的社会经济、文化艺术和生活方式。通过研究红砖古厝，我们可以深入了解闽南地区的历史变迁，探寻闽南文化的发展脉络。

红砖古厝与闽南地区的民俗文化紧密相连，是民俗文化的重要载体。在古厝中，人们的日常生活、传统节庆、婚丧嫁娶等民俗活动都有独特的民俗和仪式。例如，在春节期间，闽南人会在古厝中举行祭祖、贴春联、挂灯笼等活动；婚礼时，新人会在古厝中举行传统的拜堂仪式。这些民俗活动不仅传承了闽南地区的传统文化，也增强了家族的凝聚力和认同感。同时，古厝中的装饰图案和建筑细节也蕴含着丰富的民俗文化内涵，如一些吉祥图案反映了闽南人对美好生活的向往和追求。

闽南古厝所承载的家住观念、乡土情怀等精神文化内涵，是闽南人身份认同和文化传承的重要组成部分。它不仅是居住的场所，更是闽南人精神的家园，凝聚着闽南人的情感和记忆，传承着闽南地区的文化基因。

=== 总结 ===
红砖古厝是闽南人的智慧结晶，也是研究有关闽南历史的重要依据。在目前这种多元化的社会，我们更应该从闽南红砖古厝取其精华，用在当今的建筑中，不仅可以呈现出不一样的美感，也是对闽南红砖居民的一种保护以及对红砖古厝的利用和开发，更是延续闽南人文历史的文脉。我们不应该让传统文化毁于一旦，应将传统文化薪火相传。

=== 参考文献 ===

[1]陈清.探析泉州传统民居装饰“红砖文化”[J].南京艺术学院学报:美术与设计版,2009（5）:30.

[2]王鑫刚.闽南红砖古厝外墙装饰的地域性探究.福建建筑,2016.

[3]吴丽敏.泉州红砖厝建筑风格初探[D].集美大学艺术考察报告与毕业论文,2006:9.

[4]李淋，周小儒.浅谈闽南红砖古厝的文化内涵[J].才智,2018.

[5]黄汉民.福建传统民居[M].北京:中国建筑工业出版社,2009.

[6]戴志坚.闽南传统建筑[M].厦门:厦门大学出版社,2006.

=== 术语与表达 ===

Minnan red brick ancient houses 闽南红砖古厝

China's World Heritage Tentative List 世界名录预备名录

swallow-tail ridges 燕尾脊

brick and stone interlocking 出砖入石

lifted beam system 抬梁式

dougong bracket system 穿斗式

hard mountain-style roofs 硬山式屋顶

cloud scrolls 云卷纹

floral patterns 花草纹

hexagonal tortoise 六角龟

octagon 八角

coin motifs 钱币纹

lotus patterns 莲花纹

pomegranate motifs 石榴纹

=== 问题 ===
1.闽南红砖古厝何时被列入中国世界遗产预备名录？

2.闽南红砖古厝的别称“皇宫起”源于什么建筑特征？

3.闽南古厝的建筑结构主要采用了哪两种传统形式？

4.“出砖入石”的建筑手法解决了闽南地区的什么问题？

5.闽南红砖古厝的装饰艺术中，“六角龟”和“莲花”分别象征什么？

=== AI使用 ===
我使用了豆包帮助我完成期末论文。

中文部分我先是阅读了以下多篇相关的论文，总结出闽南红砖古厝蕴含的文化内涵，构建好论文的写作思路和框架，利用豆包对我的语言进行润色，提高语言的精确度和自然度。

英语部分我使用豆包辅助帮我将中文翻译为了英语，并手动更正了术语与表达。

== 閩南赤レンガ古厝（みんなんあかれんがこそ） ==

=== 序論 ===
閩南赤レンガ古厝は閩南地域特有の伝統的民家であり、その最大の特徴は高密度の赤レンガを建材としている点にある。この建築様式は千年の歴史の積み重ねによって独自の体系を確立した。中国の建築物の多くは灰色の瓦と青レンガを用いるが、南北に差異があっても大同小異である。しかし閩南の赤レンガ古厝は一線を画し、その数は膨大で、深い文化的内包と歴史的価値を有する。閩南を代表する伝統建築の一つであり、2012年に中国世界遺産暫定リストに登録された。

=== 赤レンガ古厝の歴史的淵源 ===
閩南赤レンガ古厝の歴史は唐の昭宗・光化年間（898-901年）に遡る。当時、閩王の王妃が宮殿様式の家屋建造を許可されたことに庶民が倣い、次第に閩南古厝の建築様式が形成された。閩南語で「厝」は家屋を意味し、赤レンガで建てられた古厝は閩南地域を代表する伝統民家となった。

赤レンガ古厝は「皇宮起」（皇帝の宮殿様式）とも称される。燕尾形の屋根と装飾様式が宮殿建築を模しているためである。当初、燕尾形屋根は寺院建築にのみ用いられたが、長い社会発展の過程で次第に閩南建築の重要な構成要素となり、独特の地方色を体現するに至った。閩南人は赤色を好み、赤レンガ古厝の鮮やかな色彩と華麗な外観は、宮廷式の富貴な生活への憧れを示すと同時に、彼らの知恵をも表している。石材が比較的乏しい状況下で、赤レンガと石材を巧みに組み合わせた「出磚入石」（煉瓦と石材の交錯積み）という建築形式を創出し、住居問題を解決するとともに在地の建築様式を保持し、建材と形式の完璧な融合を実現した。

歴史の発展に伴い、閩南地域は宋元代に重要な海上貿易港となり、対外交流が頻繁になった。この時期、外来文化と在地文化が相互に融合し、赤レンガ古厝の建築様式にも一定の影響を与えた。伝統を保持しつつ外来要素を吸収することで、その文化的内包を一層豊かなものにした。

=== 赤レンガ古厝の建築的特徴 ===
伝統的な閩南古厝の構造は木造を主体とし、四合院を中心とした中軸対称と空間序列を強調する。この配置は中国伝統建築の空間理念を体現し、厳格で秩序ある居住環境を創出する。建築構造は主に「抬梁式」（柱梁式）または「穿斗式」（貫構造）の架構形式を採用し、中国伝統建築の精髄を十分に吸収することで、建築物の安定性と耐久性を確保している。

閩南古厝は北を背に南を向き、鮮明な外観的特徴を有する。赤レンガと白い石の壁体、硬山式屋根（切妻屋根）、二重に反り上がった燕尾形屋根は極めて高い識別性を持つ。壁体は煉瓦の実積み壁で、外壁は石造の腰壁と赤レンガで構築され、堅固で重厚である。軒下の壁面は煉瓦壁を用い、石造腰壁との対比を鮮明にしている。建築外観において、石塊は壁面の中で「面」や「点」として存在し、煉瓦の目地は「線」として機能する。点・線・面という形式美の三要素を巧みに活用し、壁全体を巨視的に見れば形式美に富んだ平面構成作品の如く、独特の美学的価値を示している。

閩南赤レンガ古厝の装飾芸術は多種多彩で、文様の内容と象徴性は建築における漢文化の継承を体現する。雲渦文、草花文など中国伝統文様要素が広範に用いられ、閩南の破風壁は漢代漆器の吉祥文様である雲気文を倒置し、屋根破風の三角形に適用して「雲如意頭」（吉祥の雲文様）の意味を込めた。赤レンガ壁面には楼閣人物、女性英雄、吉祥文字、海棠の花、台湾相思樹など様々なレリーフが嵌め込まれ、これら壁飾りは豊かな象徴と寓意を持つ。例：六角形の亀は長寿、八角形は吉祥、銭貨は富、蓮花は清廉潔白、柘榴は豊かな実りを象徴する。これらの図案と文様で美しい願いを表現することが閩南赤レンガ古厝装飾芸術の大きな特徴であり、「図案には必ず意味があり、意味は必ず吉祥である」という中国伝統民家装飾文様の発展法則を体現している。

=== 赤レンガ古厝の文化的意義 ===
閩南赤レンガ古厝は閩南地域の歴史文化を証言する重要な存在であり、同地域数千年の発展過程を記録している。多くの赤レンガ古厝は名人旧居や歴史遺構であり、祖先の足跡と輝きを担い、各歴史時期における閩南地域の社会経済、文化芸術、生活方式を反映している。赤レンガ古厝の研究を通じ、閩南地域の歴史的変遷を深く理解し、閩南文化の発展の軌跡を探ることができる。

赤レンガ古厝は閩南地域の民俗文化と密接に結びつき、その重要な媒体である。古厝では人々の日常生活、伝統祭事、冠婚葬祭などの民俗活動に独特の習俗と儀式が存在する。例：春節期間に閩南人は古厝で祖先祭祀・春聯貼り・提灯掲げを行う。婚礼時には新人在古厝で伝統的な拝堂儀式を行う。これらの民俗活動は閩南地域の伝統文化を継承するだけでなく、家族の結束力と帰属意識も強化する。同時に、古厝の装飾図案と建築細部には豊かな民俗文化的内包が込められており、吉祥文様の一部は閩南人の美しい生活への憧れと追求を反映している。

閩南古厝が担う家族観念、郷土愛などの精神的文化的内包は、閩南人のアイデンティティと文化継承の重要な構成要素である。それは単なる居住空間ではなく、閩南人の精神的家郷であり、彼らの感情と記憶を凝縮し、閩南地域の文化的遺伝子を継承している。

=== 総括 ===
赤レンガ古厝は閩南人の知恵の結晶であり、閩南歴史研究の重要な根拠でもある。現代のような多様化した社会において、われわれは閩南赤レンガ古厝から精髄を汲み取り、現代建築に活用すべきである。これにより異なる美感を表現できるだけでなく、閩南赤レンガ民家の保護と古厝の活用・開発につながり、閩南人文歴史の文脈を継続させることになる。伝統文化を滅ぼしてはならず、その薪火（文化の灯火）を受け継いでいくべきである。

=== 参考文献 ===
[1] 陳清. 「泉州伝統民家装飾『赤レンガ文化』の考察」[J]. 南京艺术学院学報：美術とデザイン版, 2009(5):30.

[2] 王鑫剛. 「閩南赤レンガ古厝外壁装飾の地域性に関する研究」[J]. 福建建築, 2016.

[3] 呉麗敏. 「泉州赤レンガ厝の建築様式に関する基礎研究」[D]. 集美大学芸術調査報告と卒業論文, 2006:9.

[4] 李淋，周小儒. 「閩南赤レンガ古厝の文化的内包について」[J]. 才智, 2018.

[5] 黄漢民. 『福建伝統民家』[M]. 北京：中国建築工業出版社, 2009.

[6] 戴志堅. 『閩南伝統建築』[M]. 厦門：厦門大学出版社, 2006.

=== 術語と表現 ===
闽南红砖古厝　閩南赤レンガ古厝

世界名录预备名录　世界遺産暫定リスト

燕尾脊燕尾形屋根

出砖入石　出レンガ入り石（煉瓦と石材の交錯積み）

抬梁式　柱梁式

穿斗式貫構造

硬山式屋顶切妻屋根（硬山式）

云卷纹雲渦文

=== 設問 ===
１. 閩南赤レンガ古厝はいつ中国世界遺産暫定リストに登録されたか？

２. 閩南赤レンガ古厝の別称「皇宮起」はどの建築的特徴に由来するか？

３. 閩南古厝の建築構造は主に哪二つの伝統形式を採用しているか？

４. 「出レンガ入り石（煉瓦と石材の交錯積み）」の建築手法は閩南地域のどの問題を解決したか？

５. 閩南赤レンガ古厝の装飾芸術において、「六角形の亀」と「蓮華」はそれぞれ何を象徴するか？

User:Zhou Le

2025-06-17T14:00:07Z

Yang Jiahong2:

== Pressing pepper ==
[[File:zhalajiao.jpg]]
=== History and the origin ===
Pressing pepper, also simply called Zhà pepper or zhǎ pepper, is a traditional Chinese condiment and delicacy, widely used in everyday cuisine throughout the southwest and south-central regions of China. Its origin lies in southeastern Chongqing (historical records trace it back to XIANNVZHAI in Wulong, Chongqing), and from there it spread to Hubei, Hunan, Guizhou, Sichuan, and other areas. In the southwest and south-central regions, the Pressing pepper is beloved for its unique spicy-savory flavor and its varied preparation methods. Chongqing as well as Changde and Lixian in Hunan are important production centers, each developing distinctive techniques and taste profiles. Its history can be traced back to the mid-to-late Qing Dynasty. As people migrated and cultures exchanged, the production techniques spread along the Wu River and Yangtze River basins into Jingzhou in Hubei, Changde and Lixian in Hunan, and became a signature food throughout these regions. In earlier times, the Pressing pepper was not only a dish server to honored guests but also a skill evert bride-to-be was expected to learn, symbolizing the transmission of family traditions.

=== The making process ===
Selecting Ingredients: Fresh, ripe red chili peppers such as Facing Heaven Pepper or Cayenne pepper are chosen for their moderate heat and aroma. According to taste preferences, auxiliary ingredients like garlic, ginger, Sichuan peppercorns, and salt may be added.

[[File:chaotianjiao.png]]
'''Heaven Pepper'''

[[File:erjingtiao.png]]
'''Cayenne pepper'''

Washing and Sun-Drying: The chilies are thoroughly washed to remove impurities and any spoiled parts. After washing, they are spread out to sun-dry until surface moisture is eliminated, preventing off-flavor during fermentation.

Chopping and Fermenting: Once dried, the chilies are cut into small sections or crushed, making them easier to ferment. The chopped chilies are mixed with salt in a specific ration, packed into sealed containers, and left to ferment in a cool, shaded spot for several days.

[[File:yanzhi.jpeg]]

Stir-Frying and Storage: After fermentation, the chilies are stir-fried together with oil, minced garlic, minced ginger, and other seasonings until most of the moisture evaporates and a fragrant aroma emerges. The finished Pressing pepper is then packed into clean glass jars, sealed, and can be kept at room temperature for several months.

=== The types ===
Because Pressing pepper varies by region, its flavor also differs.

==== Chongqing Pressing Pepper ====
Primarily uses Cayenne pepper, which offer moderate heat and a strong fragrance. Emphasizes deep-frying techniques, with a relatively large amount of oil and longer stir-frying time to fully release the chilies' aroma.
Bright red color, oily, fragrant, and spicy, perfect for pairing with hot pot, skewers, and other Chongqing specialties.

==== Changde, Hunan Pressing Pepper ====
Often made with Bird Eye's chilies, which are quite spicy.
Highlights a longer fermentation period, resulting in a more intense flavor.
Spicy with a hint of sourness and a pronounced fragrance, commonly used to dress rice, noodles, and other everyday dishes.

[[File:xiaomijiao.png]]
'''Bird Eye's chilly'''

==== Lixian, Hunan Pressing Pepper ====
Uses locally specific chili varieties with moderate heat.
During fermentation, fermented fermented black soybean and other seasonings are added to deepen the flavor profile.
Spicy yet fresh tasting, with a richly layered mouthfeel, ideal for matching with rice noodles, cocktails, and other regional snacks.

=== Main Factors Affecting Regional Differences in Pressing Peppe Flavor ===
Climate Conditions: Variations in temperature and humidity across regions affect both chili cultivation and the fermentation process, leading to differences in final flavor.

Dietary Habits: Local residents' preferences for spiciness, sourness, or oiliness result in distinct preparation methods and taste profiles for Pressing pepper.

Cultural Traditions: Traditional production techniques and family recipes passed down through generations create unique regional tastes.

=== Conclusion ===
Although the basic method for making Pressing pepper is largely similar, differences in ingredient selection, techniques, and flavor preferences across regions yield distinctive varieties. Chongqing's version is oily and intensely spicy, Changde's is spicy with a sour tang, and Lixian's is both spicy and fresh. These regional distinctions not only enrich the Pressing pepper family but also reflect the diversity of Chinese culinary culture.

=== Term and Expressions ===

Cayenne pepper 二荆条

Bird Eye's chili 小米椒

Facing Heaven pepper 朝天椒

fermented black soybean 豆豉

Chongqing Pressing Pepper 重庆榨辣椒

Changde, Hunan Pressing Pepper 湖南常德榨辣椒

Lixian, Hunan Pressing Pepper 湖南澧县榨辣椒

=== Questions ===
#Why is Pressing pepper only popular in Hunan, Hubei, Chongqing, and other southwest and south-central regions?
#Approximately when did Pressing pepper first emerge?
#What are the reasons for the differing flavors of Pressing pepper across various regions?

=== Answers ===
#These regions have a humid climate with abundant rainfall and tend toward spicy foods.
#Its history can be traced back to the mid-to-late Qing Dynasty in Xiannǚzhài, Wulong, Chongqing.
#Climate Conditions, Dietary Habits and Cultural Tradition are different.

=== References ===

[1] https://baike.baidu.com/item/%E6%A6%A8%E8%BE%A3%E6%A4%92/6407472

[2] https://baike.baidu.com/item/%E6%A6%A8%E6%A4%92/19308250

[3] https://baijiahao.baidu.com/s?id=1828737250099806634&wfr=spider&for=pc

=== AI statement ===
To help me to write my final paper, I have used the following AI chatbot:Chatgpt.

For the Chinese sections, I had ChatGPT classify and organize the collected materials. I then manually revised each section, streamlined the wording, and newly wrote the Question and the Answer section.

For the English sections, I used ChatGPT to assist in translating the Chinese into English and manually corrected the term and expressions.

== 榨辣椒 ==

=== 简介 ===
榨辣椒，又名榨椒、鲊（zhǎ）辣椒，是中国传统调味品与美食，广泛应用于西南和中南地区的日常饮食中。其源自渝东南，经史料记载发源于重庆武隆仙女寨，后传到湖北、湖南、贵州、四川等地。在西南和中南地区，榨辣椒因其独特的香辣风味和多样的制作方法而广受欢迎。重庆、湖南常德和澧县作为榨辣椒的重要产地，各自想成了独特的制作工艺和风味特点。其历史可追溯至清代中后期。随着人口迁徙与文化交流，制作技艺沿乌江、长江流域扩散至湖北荆州、湖南常德、澧县等地，成为湘鄂渝黔地区的标志性食物。旧时，榨辣椒不仅是待客名菜，更是女子出嫁前必学的技艺，承载着家庭传承的象征意义。

=== 榨辣椒的制作过程 ===
原料选择：在原料上选用新鲜、成熟的红辣椒，如朝天椒、二荆条等，辣度和香气适中。根据口味需求，可加入大蒜、生姜、花椒、食盐等辅料。

清洗与晾晒：将辣椒清洗干净，去除杂质和腐烂部分。将清洗后的辣椒摊开晾晒，去除表面水分，避免发酵过程中产生异味。

切碎与腌制：将晾干的辣椒切成小段或剁碎，便于后续发酵。将切碎的辣椒与食盐按比例混合，装密封容器中，放置在阴凉处发酵数天。

炒制与储存：将发酵好的辣椒与油、蒜末、姜末等一起炒制，炒至水分蒸发，香味四溢。将炒制好的榨辣椒装入干净的玻璃瓶中，密封保存，可常温保存数月。

=== 具有代表性的榨辣椒 ===
榨辣椒因地域不同，其味道也有所差异。

==== 重庆榨辣椒 ====
多选用二荆条，辣度适中，香气浓郁。
注重油炸工艺，油亮较大，炒制时间长，使辣椒香味充分释放。
色泽红亮，油润香辣，适合搭配火锅、串串等重庆特色美食。

==== 湖南常德榨辣椒 ====
常用小米椒，辣度较高。
强调发酵过程，发酵时间较长，风味更为浓郁。
辣中带酸，香气扑鼻，常用于拌饭、拌面等家常菜肴。

==== 湖南澧县榨辣椒 ====
多选用当地特有的辣椒品种，辣度适中。
在发酵过程中加入豆豉等辅料，增加风味层次。
辣中带鲜，口感丰富，适合搭配米粉、米线等地方小吃。

=== 榨辣椒的地域差异的主要影响因素 ===
气候条件：不同地区的温度和湿度影响辣椒的生产和发酵过程，从而影响最终的风味。
饮食习惯：各地居民的口味偏好，导致榨辣椒的制作方法和风味有所不同。
文化传承：传统的制作工艺和家庭秘方在各地代代相传，形成了独特的地域风味。

=== 总结 ===
榨辣椒作为一种传统调味，其制作方法虽大同小异，但在不同地区因原料选择、制作工艺和口味偏好的差异，形成了各具特色的风味。重庆的榨辣椒油润香辣，常德的辣中带酸，澧县的辣鲜兼备。这些地域差异不仅丰富了榨辣椒的品类，也体现了中国饮食文化的多样性。

=== 术语与表达 ===

二荆条 Cayenne pepper

小米椒 Bird Eye's chili

朝天椒 Facing Heaven pepper

豆鼓 fermented black soybean

重庆榨辣椒 Chongqing Pressing Pepper

常德榨辣椒 Changde, Hunan Pressing Pepper

澧县榨辣椒 Lǐxiàn, Hunan Pressing Pepper

=== 问题 ===
#为什么榨辣椒只流行于湖南、湖北、重庆等西南中南地区？
#榨辣椒最早可追溯至什么时候？
#各地地区榨辣椒风味不同的原因有哪些？

=== 回答 ===
#这些地区气候偏湿，降雨多，偏向于辛辣食品。
#其历史可追溯至清代中后期。
#气候条件、饮食习惯、各地居民的口味偏好不同。

=== 参考 ===

[1] https://baike.baidu.com/item/%E6%A6%A8%E8%BE%A3%E6%A4%92/6407472

[2] https://baike.baidu.com/item/%E6%A6%A8%E6%A4%92/19308250

[3] https://baijiahao.baidu.com/s?id=1828737250099806634&wfr=spider&for=pc

=== AI使用 ===

== 榨辣椒 ==

=== 歴史と起源 ===

榨辣椒は、中国の伝統的な調味料および食べ物であり、西南地区（四川、貴州、雲南など）および中南地区（湖北、湖南など）の日常食に広く用いられている。その発祥は渝東南で、史料によると重慶市武隆区仙女寨に遡り、のちに湖北省、湖南省、貴州省、四川省へと伝播した。西南・中南地区では、独特の香り高い辛味と多彩な製法が好まれ、特に重慶市や湖南省常徳市、澧県が主要な生産地として知られ、それぞれの固有の製造技術と風味が確立されている。
その起源は最初、清代中後期まで遡ることができ、人々の移動や文化交流とともに、烏江や長江流域を通じて湖北荊州、湖南常徳、澧県などへと広まり、湘（湖南）・鄂（湖北）・渝（重慶）・黔（貴州）地区を代表する食べ物となった。かつては、来客をもてなす名菜であるだけでなく、娘が嫁ぐ前に必ず習得すべき家伝の技術ともされ、家族の伝統を象徴する存在である。

=== 榨辣椒の生産過程 ===

原料の選択：新鮮で完熟した赤唐辛子・朝天椒（鷹の爪）、二荆条（アールジントウ）などが用いられる。辛さや香りのバランスを考え、好みに応じてにんにく、しょうが、山椒、食塩などの補助材料を用意する。

洗浄と天日干し：唐辛子を流水でよく洗い、傷んだ部分や異物を取り除いて、そして、洗い終えた唐辛子を平らに広げ、表面の水分が飛ぶまで陰干しまたは天日干しして乾燥させる。余分な水分を抜くことで、発酵時に雑味が出るのを防ぐことができる。

刻んで塩漬け：しっかり乾燥した唐辛子を小さめに切るか、みじん切りにする。刻んだ唐辛子を食塩とよく混ぜ合わせ、清潔な密閉容器に詰めて、そのまま涼しい場所に置いて数日間発酵させて、塩の浸透圧によって唐辛子内部が発酵し、独特の風味が生まれる。

炒めと保存：発酵が終わった唐辛子を、中華鍋やフライパンに油をひいて火にかけ、にんにくのみじん切りやしょうがのみじん切りとともに炒めて、水分が飛び、香りが立ってきたら火を止め、清潔なガラス瓶に詰めて密封する。常温で数ヶ月保存でき、使うほどに味がなじんでいく。

=== 代表的な榨辣椒 ===

榨辣椒は地域によって味わいも異なっている。

==== 重慶の榨辣椒 ====

主に二荆条（アールジントウ）を使用し、辛さは程よく、香りが豊かである。

油で揚げる工程を重視し、油の量が多く、炒める時間も長めにとることで、唐辛子の香りを十分に引き出せる。

色は鮮やかな赤、油がきらめき、香ばしく辛く仕上がっており、火鍋や串焼きなど重慶の名物料理によく合う。

==== 湖南省常徳の榨辣椒 ====

小粒の小米椒（シャオミージャオ）を多く使い、辛さはかなり強い。

発酵工程を重視し、発酵期間を長くとることで、風味がより深い。

辛味の中に酸味があり、香りが立つのが特徴で、ご飯や麺にあえる家庭料理によく使われている。

==== 湖南省澧県の榨辣椒 ====

地元特有の唐辛子品種を多く用い、辛さは程よく仕上げる。

発酵過程で豆豉（ドウチ）などの副材料を加えることで、風味に奥行きを持たせている。

辛味の中に旨みがあり、食感も豊かで、米粉や米線など地元の屋台料理によく合う。

=== 榨辣椒の地域差異に影響を与える主な要因 ===

気候条件：地域ごとの気温や湿度が唐辛子の生育や発酵過程に影響を与え、最終的な風味を左右する。

食習慣：各地の人々の味覚の好みによって、榨辣椒の製法や風味が異なる傾向がある。

文化的伝承：伝統的な製造技術や家庭秘伝のレシピが世代を超えて受け継がれることで、独自の地域風味が生まれる。

=== 結論 ===
榨辣椒は伝統的な調味料として、その基本的な作り方には大きな違いがないが、原料の選択、製造工程、味の好みの差異によって、各地ごとに特色ある風味が形成される。たとえば、重慶の榨辣椒は油っぽく香ばしい辛さが特徴であり、常德の榨辣椒は辛味の中に酸味が感じられ、澧県の榨辣椒は辛さと旨味がバランスよく共存している。これらの地域差は、榨辣椒のバリエーションを豊かにし、中国の食文化の多様性を体現している。

=== 術語と表現 ===

二荆条：二荆条（アールジントウ）

小米椒：小米椒（シャオミージャオ）

朝天椒：朝天椒（鷹の爪）

豆鼓：豆豉（ドウチ）

重庆榨辣椒：重慶の榨辣椒

常德榨辣椒：湖南省常徳の榨辣椒

澧县榨辣椒：湖南省澧県の榨辣椒

=== 質問 ===
#なぜ榨辣椒は湖南省、湖北省、重慶などの西南・中南地域でしか流行していないのでしょうか。
#榨辣椒はおおよそいつ頃に誕生したのでしょうか。
#各地域で榨辣椒の風味が異なる理由にはどのようなものがありますか。

=== 答え ===
#これらの地域は気候が湿潤で降雨量が多く、辛い食べ物を好みます。
#その歴史は清代中後期にまで遡ります。
#気候条件、食習慣、各地住民の味覚の好みが異なるためです。

=== 参考資料 ===

[1] https://baike.baidu.com/item/%E6%A6%A8%E8%BE%A3%E6%A4%92/6407472

[2] https://baike.baidu.com/item/%E6%A6%A8%E6%A4%92/19308250

[3] https://baijiahao.baidu.com/s?id=1828737250099806634&wfr=spider&for=pc

User:Yang Jiahong2

2025-06-17T13:59:46Z

Yang Jiahong2:

Chinese Language and Culture, Spring 2025

2025-06-13T06:58:21Z

Yang Jiahong2: /* Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations */

Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!

=Session 1 Fri Feb 21 14:30-16:10 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 (Zhang Mai)

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（Zhao Qi）

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（Qin Yi)

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 (Xu Yangyang)

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 （Liao Zuoyun）

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)

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 (Yang Yue2)

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 (Fei Xinyu)

132. Silk and porcelain: Porcelain 1277

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

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 (Wu Jiating)

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（Zhang Huifang）

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 (Zheng Kaiwu)

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)

156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

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 (She Xiao)

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

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

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

183. Opera: Chinese Local Operas 1727 （Wang Xinyu）

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

202. The Legend of Zhen Huan 《甄嬛传》 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

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)

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 Yixuan2)

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

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

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 （Yang Jiahong2)

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

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 (Wang Yuxin)

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 （Li Zihan2）

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

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 （Liu Qi）

248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）

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 （Shao Keyuan）

272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）

273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]

274. God of Wealth(财神) 1845

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 14:30-16:10 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.

27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]

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

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

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

85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

=Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=
==Presentations==
1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86

2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]

3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]

4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]

5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]

6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]

7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]

==Notes on presentations==
Most students did not do their homework. 素质 in Chinese and international culture. Taking over responsibility. Being independent. Making sure that things run. Taking care of others. Not to do the homework in time (displaying the 13 presentations of each session) has disadvantages also for the other students, who cannot prepare.

1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. "Black tea" (in English all "hong cha" is called "black tea"), British tea culture (add milk)

2. 14:55-15:00 Personal origin: Shandong, personal experience: climbed Mount Tai 4 times, Sacrificial Culture, Culture of Literati, Folk Belief: God of Mount Tai, Blue Rosy Cloud Fairy; Spiritual Symbolism

3. 15:04-15:10 Legend, Tradition and Contrast, Significance; Sui Monster ya sui qian; contrast in the West: Giving money as a present is considered not as good as a present itself, giving money in an envelope has the bad taste of bribing (transparency.org); in China you can even go to the temple and pray for money

4. 15:29-15:34 historical details of design, red meaning “stop” internationally, “achieve the great rejuvenation of the Chinese nation” (maybe a newer concept than the flag?), connection with earlier historical flags and other flags like of the communist movement, North Korea, ancient Soviet Union

5. 15:41-15:46 dialect terms (don’t use pinyin), analogy, breakfast is one of the most resilient cultural elements a person sticks to, guozao, 热干面, missing: characteristics like that it needs to be prepared quickly because the tradition of the dock workers

6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87

7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86

==Student grades: 平时成绩/签到==

75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin
# Jin Yichen
# lu jiahui
# li yuan
# cao yuan
# xiao luyu
# zhang jiaxin +5
# ye sitong
# zhao yashi
# jiang xinyue
# yan xiang
# fei xinyu
# zhang qi
# dai shiru
# zhang zixi
# zheng kaiwu
# cai yichun
# yang jing
# liao dan
# luo yan
# qin yi
# shao keyuan
# cao chunyang
# xu yangyang
# liao zuoyun
# cheng sixiang
# du jiangping
# liu qi
# miao yunlong
# huang qiaoqiao
# chen lin
# duan binyao
# li ting
# zeng zhi
# xing xueqing
# luo jingyan
# liu shutian
# gao xiaoqing
# chen zhen
# luo guoqiang -1-1-1
# she xiao
# he yunfeng
# liu ying
# du yuan
# li jiayi
# tao yao
# xu xinwen
# ou huang
# liu peini
# jiang ziqiang
# zhang huifang
# liu chao
# liu yunxi
# luo jiaxin
# li mei
# zeng xiaohui
# huang yixuan
# chen anqi
# chen ting
# zhang mai
# yuan xiaolin -1-1
# li mingfeng
# dai yexun-1-1
# yang pei -1
# tang yan
# xiang jianning-1
# liu chang -1
# wang yuxin
# lv jiahao-1
# dong jiating
# lu wei
# yang yue
# guo cili
# shen shuai
# Ouyang yihong
# li zihan -1
# zuo fang
# fu sihui
# xiao zixin -1
# zhou tianyi -1
# qi zhiyang -1-1
# liu pei
# gong wei
# chen sisi
# huang sinan
# xiao yikang
# yu jingfang
# luo sicheng
# yang jiahong
# yan jidong
# xiao yawen
# geng hongmei
# zhou le
# qiu ping
# wang huaixing
# wang xinyu
# chu hanqi
# wu jiating
# zhang meiling
# liu jianan
# song xin
# zhao qi
# zheng jinlian
# li linyao

=Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=
#Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]
#Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]
#Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]
#Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]
#Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]
#Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]
#Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]
#Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)

=Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=
#Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]
#Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]
# Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]
# Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]
# Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]
# Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]
# Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]
# Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]
#133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]

=Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=

#Topic 188:Mobile Games 手游 1783 （Du Jiangping）
#Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）
#Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)
#Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]
#Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]
#Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]
#Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）
#Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)

=HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=
清明节4月4日——4月6日
=Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=
#Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）
#Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]
#Topic 181:Animals：Golden Monkey(Xiao Yawen)
#Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]
#Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）
#Topic 220:Rice cake 年糕 (Dong Jiating)
#Topic 208:Chinese traditional ornament: Buyao(Yang Jing)
#Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]
#Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]

=Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=
#Topic 213: Chinese Dreamcore (Zhang Zixi)
#Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]
#Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]
#Topic 218: Guangdong Herbal tea (Gao Xiaoqing)
#Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]
#Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Shandong Cuisine]]
#Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]
#Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]

=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)[[Media:ChaBaiXi.pptx]]
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)
#Topic 227: Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)
#Topic 232: Sun Wukong(Li Yuan)
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]
#Topic 235: Bamboo Weaving(Chen Anqi)
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)

==Please enroll in ai platform==
Please enroll (register) in the platform https://dcg.de/ai/

=HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=
劳动节5月1日——5月5日

=Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=
#Topic 238: Three Famous Chinese Mountains(Liu Chang)
#Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]
#Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]
#Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]
#Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]]
#Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]
#Topic 246: New Year Wood-block Paintings(Du Yuan)
#Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]
#Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)

==Regarding Wu Zetian‘s blank Steele==
关于武则天的“无字碑”（又称“无字碑记”）为何没有刻字，学界和民间流传着几种主要的假设：
#功过自有后人评说（最广为流传）：武则天希望后世自己来评价她的一生，不愿由自己或当时的人定论。这种说法强调了她的自信与超越常规。
#避讳批评或争议：武则天是中国历史上唯一的女皇帝，争议颇多。她可能认为无论写什么内容都容易引发非议，因此选择不刻字以避免争议。
#彰显佛教思想：她信奉佛教，而佛教讲究“空”与“无”，无字碑可能象征“空性”或“无常”，体现她的宗教哲学。
#未来自我书写：也有人猜测她原计划晚年或死前再刻碑文，但去世后未及实现，遂留下空碑。
#彰显权力与独特性：无字碑作为一种非同寻常的表达形式，也可视为权力和个性的象征，显示她与众不同的统治地位。

⸻

English Translation:

There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:
#“Let future generations judge” (most popular view): Wu Zetian may have wanted her life and legacy to be judged by later generations rather than writing her own praise. This interpretation highlights her confidence and forward-thinking.
#To avoid criticism or controversy: As the only female emperor in Chinese history, Wu Zetian was a controversial figure. She may have felt that any written content could provoke criticism, so she left it blank.
#Reflecting Buddhist philosophy: A devout Buddhist, she may have chosen to leave the stele blank as a symbol of “emptiness” or impermanence, ideas central to Buddhist thought.
#Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.
#Symbol of power and uniqueness: A blank stele could also serve as a unique and powerful statement, emphasizing her exceptional status and breaking with traditional forms.

=Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=
#Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]
#Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]
#Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)
#Topic 253: Yuelu Mountain (Chen Ting)
#Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional_Crafts_Tie-Dye.pptx]]
#Topic 255: Chinese-style sun protection (Zhao Yashi)
#Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]
#Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)
#Topic 214: Luban China's inventor (Cai Yichun)

=Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=
#Topic 262: The Four Pillars of Destiny(Li Jiayi)
#Topic 263: Shaolin Temple(Zuo Fang)
#Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)
#15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]
#15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]
#15:35- Topic 268: Table manner(Luo Yan)
#15:40- Topic 270: Yinge Dance(Jiang Xinyue)
#15:45- Topic 271: Palace Lantern(Shao Keyuan)
#15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]

15:55-16:10 Check final exam paper topics

=Session 15 Tue May 27 10:00-11:30 中和楼 213 (moved from Fri May 30 14:30-16:10 room 613) - Student presentations=
#Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)[[Media:Changsha Stinky Tofu.pptx]]
#<nowiki>Topic 274:</nowiki> God of wealth(Liu Ying)
#Topic 275: Zhua zhou (抓周）(Zeng Xiaohui)
#Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]
#Topic 277: Mirror(Cheng Sixiang)
#Topic 278: The Beef Board Noodles(Yan Xiang)
#Topic 279: Huo Qubing(Luo Jingyan)
#Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]
#Topic 281: yangqin(Dai Yexun)

=Session 16 Fri Jun 6 14:30-16:10 room 613=
#Topic 282: Black Myth: Wukong (Chen Zhen)
#Topic 283: Guangdong Morning Tea Culture (Yuan Xiaolin)
#Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]
#Topic:(Luo Guoqiang) Liuyang Fireworks

“When flaming trees join silver flowers in one blaze, and bridges of stars unlock their iron gates,” fireworks have, since ancient times, embodied humanity’s yearning for prosperity and blessings. These luminous spectacles paint the night sky with dreamlike beauty, symbolizing hopes for a better life. When it comes to fireworks, one cannot overlook Liuyang, a city renowned as the “Home of Chinese Fireworks.” With over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world.

The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the rudiments of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.

A millennium of heritage has not only bestowed profound cultural depth upon Liuyang fireworks but also forged their unique brand identity. In 2006, the art of Liuyang fireworks craftsmanship was inscribed on China’s first batch of National Intangible Cultural Heritage lists, acknowledging its invaluable cultural significance. Today, Liuyang stands as the world’s largest production, trade, and research hub for fireworks. Home to over 400 manufacturing enterprises and thousands of associated businesses, it generates an annual output value exceeding 50 billion RMB, accounting for 70% of China’s total fireworks exports. These products reach more than 100 countries across the Americas, Europe, and Southeast Asia, solidifying Liuyang’s reputation as the global epicenter of fireworks.

However, the modern era presents new challenges for the fireworks industry. Safety and environmental protection have emerged as critical constraints. Historically, Liuyang’s fireworks relied on family-run workshops, posing significant safety risks. To address this, the local government relocated enterprises to mountainous areas, promoting industrial standardization, scale, and modernization. Leveraging big data and AI, they established comprehensive, intelligent supervision systems to ensure safety at every production stage. In terms of environmental protection, Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.

In response to market shifts and technological advancements, a new generation of Liuyang’s “fireworks innovators” drives industry transformation. They have introduced products like “Urban Fireworks,” designed for urban settings. These safe, eco-friendly items blend aesthetic appeal with social interactivity, winning favor among young consumers. Innovating sales strategies, they integrate online and offline channels, utilizing “new retail” stores, Vlogs, and video platforms to reach wider audiences. Additionally, Liuyang has developed a “fireworks economy,” integrating pyrotechnics with cultural tourism. Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue. These shows combine cutting-edge technologies like drones and AI with cultural IPs, creating immersive experiences that have transformed Liuyang fireworks from a regional brand into a global cultural icon.

Emerging from the depths of history, Liuyang fireworks embrace the new era with innovation as their brush and culture as their ink. Against the backdrop of safety and sustainability, they paint a future more resplendent than ever. Serving as Liuyang’s cultural ambassador and a vivid example of traditional Chinese culture’s modern evolution, Liuyang fireworks continue to shine brightly, a timeless beacon of human ingenuity.

浏阳烟花

“火树银花合，星桥铁锁开。” 烟花，自古以来就承载着人们对美好生活的向往与祝福，在夜空中绽放出如梦如幻的美景。而提及烟花，就不得不提湖南浏阳 —— 这座被誉为 “中国烟花之乡” 的城市，它以千余年的烟花制作历史，孕育出了享誉全球的浏阳烟花。

浏阳烟花的历史，最早可追溯到唐代。相传，“爆竹祖师” 李畋为驱散疫病，将火药装填于竹筒之中，利用爆炸产生的气浪与硝烟来改善环境，这便是鞭炮的雏形。此后，经过历代浏阳人的传承与创新，烟花制作工艺不断改进。从最初简单的竹筒爆竹，发展到宋代用纸筒和麻茎裹火药编成的 “编炮”，再到后来色彩斑斓、造型各异的烟花，浏阳烟花的发展历程见证了中国传统手工艺的演变与进步。到了明清时期，浏阳烟花的生产已颇具规模，成为当地重要的手工行业，并逐渐走向全国乃至世界。清雍正元年，浏阳鞭炮因其制作精良，被选为贡品，这无疑是对其品质的极高赞誉。至乾隆年间，浏阳花炮已称雄于湖南的三湘四水；光绪年间，更是达到极盛时期，产品远销日本、印度、朝鲜等亚洲国家。

千年的历史传承，不仅让浏阳烟花积累了深厚的文化底蕴，更铸就了其独特的品牌魅力。2006 年，浏阳花炮制作技艺列入第一批国家级非物质文化遗产名录，这是对浏阳烟花文化价值的高度认可。如今，浏阳已成为全球最大的烟花爆竹生产贸易基地和科研中心，拥有 400 余家烟花生产企业及上千家产业链上下游企业，花炮年产值超 500 亿元，出口占全国出口总量的 70%，产品销往美洲、欧洲、东南亚等 100 多个国家和地区，“世界烟花看浏阳” 的美誉名副其实。

然而，随着时代的发展，烟花产业也面临着诸多挑战。安全与环保，成为了制约其发展的两大关键因素。过去，浏阳烟花多以家庭式作坊生产为主，安全隐患较大。为了改变这一现状，浏阳市政府果断采取措施，将烟花企业 “赶上山”，推动产业向工厂化、规模化、标准化发展。同时，借助大数据监控和人工智能平台，实现了对烟花爆竹生产全过程、全方位、智能化的安全监管。在环保方面，浏阳烟花企业积极开展科研攻关，与南京理工大学、北京理工大学等高等院校广泛合作，研发新材料、新工艺、新产品，致力于打造低碳、绿色、环保的烟花新形象。如今，微烟、无硫、少尘已成为浏阳烟花生产的关键词。

面对市场变化和技术革新，新一代浏阳 “烟花人” 积极创新，推动烟花产业转型升级。一方面，他们重新定义产品，推出了 “城市烟花” 等适合城市休闲场景的新产品，这类产品安全性高、污染小，且有颜值与社交属性，深受年轻消费者喜爱。另一方面，创新销售方式，通过打造 “新零售” 门店、拍摄 Vlog、搭建视频号矩阵等线上线下融合的方式，让烟花走进更多消费者的世界。此外，浏阳还大力发展 “烟花经济”，将烟花与文化旅游产业深度融合。自 2023 年以来，每周六在天空剧院推出的周末焰火秀，已累计举办各类焰火燃放活动百余场，吸引游客 500 万人次，拉动消费 150 亿元。创意焰火秀通过与无人机、AI 等新科技相结合，以及融入国风、虚拟人物、热门影视等 IP 元素，为观众带来了一场场精彩纷呈的沉浸式视觉盛宴，也让浏阳花炮实现了从区域性品牌向国际知名 IP 的蝶变升级。

从历史深处走来的浏阳烟花，在新时代的浪潮中，正以创新为笔，以文化为墨，在安全与环保的底色上，描绘出更加绚烂多彩的未来画卷。它不仅是浏阳的城市名片，更是中国传统文化在现代社会中传承与发展的生动例证，绽放永不落幕的璀璨光芒。

=Deadline extended to June 20, 2025 - Final Exam=
Please upload your ppt if you not have done so so far.
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]

Topic 196:[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]

[[Media:ChaBaiXi.pptx]]

==Grading Criteria for Powerpoint Presentations==
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?
#Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?
#Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?
#Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?
#Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?
#Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?
#Did you present your ppt file in the full screen mode?
#Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?
#Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

==How to write your final exam paper?==
Most of you have written their papers. However, please watch these guidelines, add page numbers to the paper sources you use, add answers to the questions and follow the special rules for ai usage if you used ai. Just write it like the other chapters in the textbook on your personal wiki homepage beneath the learning progress diary until 
'''New deadline to fulfill these more specified requirements: June 20, 2025'''.

About 1000 words in English, followed by a Chinese translation (no machine translation). You can also write in Chinese and translate into English. Both texts need to be like the other papers in the textbook.

===Sections===
Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.

The AI statement should look like this:

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

or, if you actually use AI

'''How about letting AI write for me?'''

Your AI statement in the References section needs to look like this:

To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: "..." I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: "...." or manually correcting the following references: ... Written the following passage new: ...).

If you use AI, not your paper will be graded, but your prompt and adjustments

===References===
*Please add the sources in the form "(Wang 2020, 445)" behind each paragraph and with a long entry in the References section.
*In the References section, please add at least 1-2 Western sources. It is always good to relate the Chinese tradition to similar traditions in other countries.
*In the English version of your References, please add the Pinyin to the Chinese names and titles. Everything needs to be readable in English characters.

===Formatting===
*Please also add free lines at places where you want to have a line break, e.g. after a header.

[[Chin_Lang_Cult_Fin_Exam_Spring_2025]]

Chinese Language and Culture, Spring 2025

2025-06-13T06:57:29Z

User:Yang Jiahong2

2025-06-05T08:13:03Z

Yang Jiahong2:

== Southern Fujian Red Brick Ancient Houses ==
[[File:Pict 1.jpg]]
=== Introduction ===

Southern Fujian red brick ancient houses are unique traditional dwellings in the Minnan region(southern Fujian), distinguished by their extensive use of red bricks with high density. Their architectural forms have evolved into a distinct style over a millennium of historical accumulation. Most buildings in China feature gray tiles and blue bricks, with only minor differences between northern and southern styles. However, Minnan red brick ancient houses stand out as a unique architectural system. With a large number of such structures, they embody profound cultural connotations and historical value, making them one of the most representative traditional architectures in Minnan. In 2012, Minnan red brick ancient houses were listed in China's World Heritage Tentative List.

=== Historical Origins of Red Brick Ancient Houses ===
The history of Minnan red brick ancient houses can be traced back to the Guanghua Period of Emperor Zhaozong in the Tang Dynasty. At that time, the princess consort of the Min King was permitted to build palace-style houses, which were imitated by ordinary people, gradually forming the architectural style of Minnan ancient houses. In the Minnan dialect, "cuo" means "houses", and ancient houses built with red bricks became the most representative traditional dwellings in the region.

Red brick ancient houses are also known as "Huang gong qi" ("palace-style") because their swallow-tail ridges and decorative styles mimic those of imperial palaces. Initially, swallow-tail ridges were only used in temple architecture, but over time, they became an important feature of Minnan architecture, reflecting unique local characteristics. Minnan people have a special preference for the color red. The vibrant hue of red brick houses and their ornate exteriors not only symbolize the Minnan people’s yearning for a regal and prosperous lifestyle but also demonstrate their ingenuity. In an area with scarce stone resources, they cleverly combined red bricks with stones to create the "brick and stone interlocking" construction technique, which not only solved housing problems but also preserved the local architectural style, achieving a perfect integration of materials and form.

[[File:Pict 2.jpg]]
'''swallow-tail ridges'''

[[File:Pict 3.jpg]]
'''brick and stone interlocking'''

With historical development, the Minnan region became an important maritime trade port during the Song and Yuan dynasties, facilitating frequent exchanges with foreign cultures. This period saw the blending of foreign and local cultures, which influenced the architectural style of red brick ancient houses. While retaining traditional elements, they absorbed some foreign influences, further enriching their cultural connotations.

=== Architectural Characteristics of Red Brick Ancient Houses ===
Traditional Minnan ancient houses are primarily constructed with wooden structures, often centered around a courtyard, emphasizing axial symmetry and hierarchical spatial division. This layout reflects the spatial philosophy of traditional Chinese architecture, creating a rigorous and orderly living environment. The structural framework mainly uses the "lifted beam" or "dougong bracket" system, absorbing the essence of traditional Chinese architecture to ensure stability and durability.

Minnan ancient houses typically face south, with distinct exterior features: red brick and white stone walls, hard mountain-style roofs, and double-curved swallow-tail ridges. The main body of the house is built with solid brick walls, while the exterior walls combine stone skirting and red brick masonry, creating a sturdy and massive appearance. The brick walls under the eaves contrast sharply with the stone skirting. In terms of visual aesthetics, the stones in the walls serve as "planes" and "points," while the brick joints act as "lines," skillfully using the three elements of form beauty (point, line, plane). The entire brick wall resembles a planar composition work of formal beauty, showcasing unique aesthetic value.

The decorative art of Minnan red brick ancient houses is rich and diverse, with patterns and symbols reflecting the inheritance of Han culture in architecture. Traditional Chinese decorative motifs, such as cloud scrolls and floral patterns, are widely used. For example, the gables of Minnan houses invert the "cloud qi" motif from Han Dynasty lacquerware, which symbolizes good luck, and adapt it to the triangular shape of the roof gable, creating the "ruyi head" motif. Red brick walls are also inlaid with various motifs, including pavilions, historical figures, heroic women, auspicious characters, begonia flowers, and acacia trees, each carrying rich symbolism. For instance, the hexagonal tortoise represents longevity, the octagon symbolizes good fortune, coins signify wealth, lotus flowers embody integrity, and pomegranates symbolize abundance. Expressing good wishes through these patterns embodies the characteristic of "every pattern has a meaning, and every meaning is auspicious," following the developmental law of decorative motifs in traditional Chinese dwellings.

[[File:Pict 4.jpg]]
'''patterns'''

=== Cultural Significance of Red Brick Ancient Houses ===
Minnan red brick ancient houses serve as important witnesses to the region’s history and culture, documenting thousands of years of development in Minnan. Many of these houses are former residences of notable figures or historical relics, carrying the footprints and glory of ancestors and reflecting the social economy, culture, art, and lifestyle of Minnan in different historical periods. Through the study of red brick ancient houses, we can gain insight into the historical changes of the Minnan region and trace the developmental context of Minnan culture.

Red brick ancient houses are closely intertwined with the folk culture of Minnan, serving as important carriers of folk traditions. In these houses, daily life, traditional festivals, weddings, funerals, and other folk activities follow unique customs and rituals. For example, during the Spring Festival, Minnan people hold ancestor-worshipping ceremonies, paste Spring Festival couplets, and hang lanterns in their ancient houses; during weddings, couples perform traditional hall-bowing rituals. These folk activities not only preserve the traditional culture of Minnan but also strengthen family cohesion and identity. Additionally, the decorative patterns and architectural details of ancient houses contain rich folk cultural connotations, such as auspicious motifs that reflect the Minnan people’s yearning for a better life.

The spiritual and cultural connotations of Minnan ancient houses, including concepts of home and local sentiment, are integral to the identity and cultural inheritance of Minnan people. They are not merely living spaces but also spiritual homelands that concentrate the emotions and memories of Minnan people and inherit the cultural genes of the region.

=== Conclusion ===
Red brick ancient houses are a crystallization of the wisdom of Minnan people and an important basis for studying Minnan history. In today’s pluralistic society, we should draw on the essence of Minnan red brick ancient houses and apply it to modern architecture. This not only presents a unique aesthetic but also protects and utilizes these traditional dwellings, ensuring the continuation of Minnan’s cultural heritage. We should not allow traditional culture to be lost but instead pass it down from generation to generation.

=== References ===
[1] Chen Qing. Analysis of the "Red Brick Culture" in the Decoration of Traditional Quanzhou Dwellings [J]. Journal of Nanjing University of the Arts (Fine Arts and Design Edition), 2009(5): 30.
[2] Wang Xingang. A Study on the Regional Characteristics of Exterior Wall Decoration of Minnan Red Brick Ancient Houses. Fujian Architecture, 2016.
[3] Wu Limin. A Preliminary Study on the Architectural Style of Quzhou Red Brick Houses [D]. Jimei University Art Investigation Report and Graduation Thesis, 2006: 9.
[4] Li Lin, Zhou Xiaoru. On the Cultural Connotations of Minnan Red Brick Ancient Houses [J]. Intelligence, 2018.
[5] Huang Hanmin. Traditional Dwellings of Fujian [M]. Beijing: China Architecture & Building Press, 2009.
[6] Dai Zhijian. Traditional Architecture of Minnan [M]. Xiamen: Xiamen University Press, 2006.

=== Terms and Expressions ===
Minnan red brick ancient houses 闽南红砖古厝
China's World Heritage Tentative List 世界名录预备名录
swallow-tail ridges 燕尾脊
brick and stone interlocking 出砖入石
lifted beam system 抬梁式
dougong bracket system 穿斗式
hard mountain-style roofs 硬山式屋顶
cloud scrolls 云卷纹
floral patterns 花草纹
hexagonal tortoise 六角龟
octagon 八角
coin motifs 钱币纹
lotus patterns 莲花纹
pomegranate motifs 石榴纹

=== Questions ===
1.When were Minnan red brick ancient houses listed in China's World Heritage Tentative List?
2.What architectural feature gives Minnan red brick ancient houses their alias "Huánggōng Qǐ" ("palace-style")?
3.What are the two main traditional structural systems used in Minnan ancient houses?
4.What problem in the Minnan region did the "chū zhuān rù shí" (brick and stone interlocking) construction technique solve?
5.In the decorative art of Minnan red brick ancient houses, what do the "hexagonal tortoise" and "lotus" motifs symbolize respectively?

== 闽南红砖古厝 ==

=== 引言 ===
闽南红砖古厝是闽南地区特有的传统的传统民居，其独特之处在于使用密度极高的红砖为材料，其形式在千年历史长河积淀下成一家言。中国大多数建筑都是灰瓦青砖，南北方虽有差异但大同小异，闽南的红砖古厝却独树一帜，这些建筑数量众多，具有深厚的文化内涵和历史价值，是闽南最具代表性的传统建筑之一。闽南红砖古厝于2012年被列入中国世界名录预备名录。

=== 红砖古厝的历史渊源 ===
闽南红砖古厝的历史可追溯至唐昭宗光化年间。当时，闽王王妃被允许建造皇宫式房屋，普通百姓纷纷效仿，逐渐形成了闽南古厝的建筑风格。在闽南语中，“厝”意为房子，而采用红砖建造的古厝成为了闽南地区最具代表性的传统民居。

红砖古厝又被称为“皇宫起”，因其燕尾脊及装饰风格仿照皇宫建筑形式。起初，燕尾脊只用于庙宇建筑，后来在长期的社会发展过程中，逐渐成为闽南建筑的重要组成部分，体现出独特的地方特色。闽南人喜爱红色，红砖古厝鲜艳的颜色和华丽的建筑外观，既体现了闽南人对宫廷式富贵生活的向往，也展示了他们的聪明才智。他们在石材相对匮乏的情况下，巧妙地将红砖与石材结合，创造出“出砖入石”的建筑形式，及解决了住房问题，又保留了本土建筑风格，实现了建筑材料与形式的完美融合。

随着历史的发展，闽南地区在宋元时期成为重要的海上贸易港口，对外交流频繁。这一时期，外来文化与本土文化相互交融，也在一定程度上影响了红砖古厝的建筑风格，使其在保留传统的基础上，吸收了一些外来元素，进一步丰富了自身的文化内涵。

=== 红砖古厝的建筑特点 ===
传统闽南古厝建筑构造以木结构为主，常以四合院为中心，突出中轴对称和空间主次区分的特点，这种布局方式体现了中国传统建筑的空间理念，营造出严谨、有序的居住环境。建筑的营造结构多采用抬梁式或穿斗式为主的举架形式，充分吸收了中国传统建筑的精髓，保证了建筑的稳定性和耐久性。

闽南古厝坐北朝南，具有鲜明的外观特征，其红砖白石墙体、硬山式屋顶和双翘燕尾脊极具辨识度。屋身为实砌砖墙，外墙采用石构墙裙和红砖砌建、坚实厚重。檐下墙体使用砖墙，与石构墙裙形成鲜明对比，在建筑外观上，石块在墙体中作为面、点存在，砖缝作为线存在，巧妙地运用了点、线、面这三个形式美的构成元素，使得整个砖墙在宏观上犹如一幅极具形式美的平面构成作品，展现出独特的美学价值。

闽南红砖古厝的装饰艺术丰富多彩，图案内容以及负载的象征体现了汉文化在建筑中的传承。建筑中广泛运用中国传统纹样元素，如常见的云卷纹、花草纹等。闽南山墙将汉代漆器中育有吉祥如意之意的云气纹倒置，使其恰好适用于屋顶山墙的三角形，寓意“云如意头”。红砖墙面还镶嵌了各种各样的团，包括楼台人物、巾帼英雄、吉寿文字、海棠花、相思树等，这些墙饰都具有丰富的象征和寓意。例如，六角龟寓意长寿，八角寓意吉祥，钱币寓意财富，莲花寓意清正，石榴寓意硕果累累等。通过这些图案及纹样表达美好愿望，是闽南红砖古厝装饰艺术的一大特点，体现了“图必有意，意必吉祥”的中国传统民居装饰纹样发展规律。

=== 红砖古厝的文化意义 ===
闽南红砖古厝是闽南地区历史文化的重要见证，它记载了闽南地区数千年来的发展历程，许多红砖古厝是名人故居或历史遗存，承载着先人的足迹与辉煌，反映了不同历史时期闽南地区的社会经济、文化艺术和生活方式。通过研究红砖古厝，我们可以深入了解闽南地区的历史变迁，探寻闽南文化的发展脉络。

红砖古厝与闽南地区的民俗文化紧密相连，是民俗文化的重要载体。在古厝中，人们的日常生活、传统节庆、婚丧嫁娶等民俗活动都有独特的民俗和仪式。例如，在春节期间，闽南人会在古厝中举行祭祖、贴春联、挂灯笼等活动；婚礼时，新人会在古厝中举行传统的拜堂仪式。这些民俗活动不仅传承了闽南地区的传统文化，也增强了家族的凝聚力和认同感。同时，古厝中的装饰图案和建筑细节也蕴含着丰富的民俗文化内涵，如一些吉祥图案反映了闽南人对美好生活的向往和追求。

闽南古厝所承载的家住观念、乡土情怀等精神文化内涵，是闽南人身份认同和文化传承的重要组成部分。它不仅是居住的场所，更是闽南人精神的家园，凝聚着闽南人的情感和记忆，传承着闽南地区的文化基因。

=== 总结 ===
红砖古厝是闽南人的智慧结晶，也是研究有关闽南历史的重要依据。在目前这种多元化的社会，我们更应该从闽南红砖古厝取其精华，用在当今的建筑中，不仅可以呈现出不一样的美感，也是对闽南红砖居民的一种保护以及对红砖古厝的利用和开发，更是延续闽南人文历史的文脉。我们不应该让传统文化毁于一旦，应将传统文化薪火相传。

=== 参考文献 ===
[1]陈清.探析泉州传统民居装饰“红砖文化”[J].南京艺术学院学报:美术与设计版,2009（5）:30.
[2]王鑫刚.闽南红砖古厝外墙装饰的地域性探究.福建建筑,2016.
[3]吴丽敏.泉州红砖厝建筑风格初探[D].集美大学艺术考察报告与毕业论文,2006:9.
[4]李淋，周小儒.浅谈闽南红砖古厝的文化内涵[J].才智,2018.
[5]黄汉民.福建传统民居[M].北京:中国建筑工业出版社,2009.
[6]戴志坚.闽南传统建筑[M].厦门:厦门大学出版社,2006.

=== 术语与表达 ===
Minnan red brick ancient houses 闽南红砖古厝
China's World Heritage Tentative List 世界名录预备名录
swallow-tail ridges 燕尾脊
brick and stone interlocking 出砖入石
lifted beam system 抬梁式
dougong bracket system 穿斗式
hard mountain-style roofs 硬山式屋顶
cloud scrolls 云卷纹
floral patterns 花草纹
hexagonal tortoise 六角龟
octagon 八角
coin motifs 钱币纹
lotus patterns 莲花纹
pomegranate motifs 石榴纹

=== 问题 ===
1.闽南红砖古厝何时被列入中国世界遗产预备名录？
2.闽南红砖古厝的别称“皇宫起”源于什么建筑特征？
3.闽南古厝的建筑结构主要采用了哪两种传统形式？
4.“出砖入石”的建筑手法解决了闽南地区的什么问题？
5.闽南红砖古厝的装饰艺术中，“六角龟”和“莲花”分别象征什么？

User:Yang Jiahong2

2025-06-05T08:11:47Z

Yang Jiahong2:

== Southern Fujian Red Brick Ancient Houses ==
[[File:Pict 1.jpg]]
=== Introduction ===

Southern Fujian red brick ancient houses are unique traditional dwellings in the Minnan region(southern Fujian), distinguished by their extensive use of red bricks with high density. Their architectural forms have evolved into a distinct style over a millennium of historical accumulation. Most buildings in China feature gray tiles and blue bricks, with only minor differences between northern and southern styles. However, Minnan red brick ancient houses stand out as a unique architectural system. With a large number of such structures, they embody profound cultural connotations and historical value, making them one of the most representative traditional architectures in Minnan. In 2012, Minnan red brick ancient houses were listed in China's World Heritage Tentative List.

=== Historical Origins of Red Brick Ancient Houses ===
The history of Minnan red brick ancient houses can be traced back to the Guanghua Period of Emperor Zhaozong in the Tang Dynasty. At that time, the princess consort of the Min King was permitted to build palace-style houses, which were imitated by ordinary people, gradually forming the architectural style of Minnan ancient houses. In the Minnan dialect, "cuo" means "houses", and ancient houses built with red bricks became the most representative traditional dwellings in the region.

Red brick ancient houses are also known as "Huang gong qi" ("palace-style") because their swallow-tail ridges and decorative styles mimic those of imperial palaces. Initially, swallow-tail ridges were only used in temple architecture, but over time, they became an important feature of Minnan architecture, reflecting unique local characteristics. Minnan people have a special preference for the color red. The vibrant hue of red brick houses and their ornate exteriors not only symbolize the Minnan people’s yearning for a regal and prosperous lifestyle but also demonstrate their ingenuity. In an area with scarce stone resources, they cleverly combined red bricks with stones to create the "brick and stone interlocking" construction technique, which not only solved housing problems but also preserved the local architectural style, achieving a perfect integration of materials and form.

[[File:Pict 2.jpg]]
'''swallow-tail ridges'''

[[File:Pict 3.jpg]]
'''brick and stone interlocking'''

With historical development, the Minnan region became an important maritime trade port during the Song and Yuan dynasties, facilitating frequent exchanges with foreign cultures. This period saw the blending of foreign and local cultures, which influenced the architectural style of red brick ancient houses. While retaining traditional elements, they absorbed some foreign influences, further enriching their cultural connotations.

=== Architectural Characteristics of Red Brick Ancient Houses ===
Traditional Minnan ancient houses are primarily constructed with wooden structures, often centered around a courtyard, emphasizing axial symmetry and hierarchical spatial division. This layout reflects the spatial philosophy of traditional Chinese architecture, creating a rigorous and orderly living environment. The structural framework mainly uses the "lifted beam" or "dougong bracket" system, absorbing the essence of traditional Chinese architecture to ensure stability and durability.

Minnan ancient houses typically face south, with distinct exterior features: red brick and white stone walls, hard mountain-style roofs, and double-curved swallow-tail ridges. The main body of the house is built with solid brick walls, while the exterior walls combine stone skirting and red brick masonry, creating a sturdy and massive appearance. The brick walls under the eaves contrast sharply with the stone skirting. In terms of visual aesthetics, the stones in the walls serve as "planes" and "points," while the brick joints act as "lines," skillfully using the three elements of form beauty (point, line, plane). The entire brick wall resembles a planar composition work of formal beauty, showcasing unique aesthetic value.

The decorative art of Minnan red brick ancient houses is rich and diverse, with patterns and symbols reflecting the inheritance of Han culture in architecture. Traditional Chinese decorative motifs, such as cloud scrolls and floral patterns, are widely used. For example, the gables of Minnan houses invert the "cloud qi" motif from Han Dynasty lacquerware, which symbolizes good luck, and adapt it to the triangular shape of the roof gable, creating the "ruyi head" motif. Red brick walls are also inlaid with various motifs, including pavilions, historical figures, heroic women, auspicious characters, begonia flowers, and acacia trees, each carrying rich symbolism. For instance, the hexagonal tortoise represents longevity, the octagon symbolizes good fortune, coins signify wealth, lotus flowers embody integrity, and pomegranates symbolize abundance. Expressing good wishes through these patterns embodies the characteristic of "every pattern has a meaning, and every meaning is auspicious," following the developmental law of decorative motifs in traditional Chinese dwellings.

[[File:Pict 4.jpg]]
'''patterns'''

=== Cultural Significance of Red Brick Ancient Houses ===
Minnan red brick ancient houses serve as important witnesses to the region’s history and culture, documenting thousands of years of development in Minnan. Many of these houses are former residences of notable figures or historical relics, carrying the footprints and glory of ancestors and reflecting the social economy, culture, art, and lifestyle of Minnan in different historical periods. Through the study of red brick ancient houses, we can gain insight into the historical changes of the Minnan region and trace the developmental context of Minnan culture.

Red brick ancient houses are closely intertwined with the folk culture of Minnan, serving as important carriers of folk traditions. In these houses, daily life, traditional festivals, weddings, funerals, and other folk activities follow unique customs and rituals. For example, during the Spring Festival, Minnan people hold ancestor-worshipping ceremonies, paste Spring Festival couplets, and hang lanterns in their ancient houses; during weddings, couples perform traditional hall-bowing rituals. These folk activities not only preserve the traditional culture of Minnan but also strengthen family cohesion and identity. Additionally, the decorative patterns and architectural details of ancient houses contain rich folk cultural connotations, such as auspicious motifs that reflect the Minnan people’s yearning for a better life.

The spiritual and cultural connotations of Minnan ancient houses, including concepts of home and local sentiment, are integral to the identity and cultural inheritance of Minnan people. They are not merely living spaces but also spiritual homelands that concentrate the emotions and memories of Minnan people and inherit the cultural genes of the region.

=== Conclusion ===
Red brick ancient houses are a crystallization of the wisdom of Minnan people and an important basis for studying Minnan history. In today’s pluralistic society, we should draw on the essence of Minnan red brick ancient houses and apply it to modern architecture. This not only presents a unique aesthetic but also protects and utilizes these traditional dwellings, ensuring the continuation of Minnan’s cultural heritage. We should not allow traditional culture to be lost but instead pass it down from generation to generation.

== References ==
[1] Chen Qing. Analysis of the "Red Brick Culture" in the Decoration of Traditional Quanzhou Dwellings [J]. Journal of Nanjing University of the Arts (Fine Arts and Design Edition), 2009(5): 30.
[2] Wang Xingang. A Study on the Regional Characteristics of Exterior Wall Decoration of Minnan Red Brick Ancient Houses. Fujian Architecture, 2016.
[3] Wu Limin. A Preliminary Study on the Architectural Style of Quzhou Red Brick Houses [D]. Jimei University Art Investigation Report and Graduation Thesis, 2006: 9.
[4] Li Lin, Zhou Xiaoru. On the Cultural Connotations of Minnan Red Brick Ancient Houses [J]. Intelligence, 2018.
[5] Huang Hanmin. Traditional Dwellings of Fujian [M]. Beijing: China Architecture & Building Press, 2009.
[6] Dai Zhijian. Traditional Architecture of Minnan [M]. Xiamen: Xiamen University Press, 2006.

=== Terms and Expressions ===
Minnan red brick ancient houses 闽南红砖古厝
China's World Heritage Tentative List 世界名录预备名录
swallow-tail ridges 燕尾脊
brick and stone interlocking 出砖入石
lifted beam system 抬梁式
dougong bracket system 穿斗式
hard mountain-style roofs 硬山式屋顶
cloud scrolls 云卷纹
floral patterns 花草纹
hexagonal tortoise 六角龟
octagon 八角
coin motifs 钱币纹
lotus patterns 莲花纹
pomegranate motifs 石榴纹

=== Questions ===
1.When were Minnan red brick ancient houses listed in China's World Heritage Tentative List?
2.What architectural feature gives Minnan red brick ancient houses their alias "Huánggōng Qǐ" ("palace-style")?
3.What are the two main traditional structural systems used in Minnan ancient houses?
4.What problem in the Minnan region did the "chū zhuān rù shí" (brick and stone interlocking) construction technique solve?
5.In the decorative art of Minnan red brick ancient houses, what do the "hexagonal tortoise" and "lotus" motifs symbolize respectively?

== 闽南红砖古厝 ==

=== 引言 ===
闽南红砖古厝是闽南地区特有的传统的传统民居，其独特之处在于使用密度极高的红砖为材料，其形式在千年历史长河积淀下成一家言。中国大多数建筑都是灰瓦青砖，南北方虽有差异但大同小异，闽南的红砖古厝却独树一帜，这些建筑数量众多，具有深厚的文化内涵和历史价值，是闽南最具代表性的传统建筑之一。闽南红砖古厝于2012年被列入中国世界名录预备名录。

=== 红砖古厝的历史渊源 ===
闽南红砖古厝的历史可追溯至唐昭宗光化年间。当时，闽王王妃被允许建造皇宫式房屋，普通百姓纷纷效仿，逐渐形成了闽南古厝的建筑风格。在闽南语中，“厝”意为房子，而采用红砖建造的古厝成为了闽南地区最具代表性的传统民居。

红砖古厝又被称为“皇宫起”，因其燕尾脊及装饰风格仿照皇宫建筑形式。起初，燕尾脊只用于庙宇建筑，后来在长期的社会发展过程中，逐渐成为闽南建筑的重要组成部分，体现出独特的地方特色。闽南人喜爱红色，红砖古厝鲜艳的颜色和华丽的建筑外观，既体现了闽南人对宫廷式富贵生活的向往，也展示了他们的聪明才智。他们在石材相对匮乏的情况下，巧妙地将红砖与石材结合，创造出“出砖入石”的建筑形式，及解决了住房问题，又保留了本土建筑风格，实现了建筑材料与形式的完美融合。

随着历史的发展，闽南地区在宋元时期成为重要的海上贸易港口，对外交流频繁。这一时期，外来文化与本土文化相互交融，也在一定程度上影响了红砖古厝的建筑风格，使其在保留传统的基础上，吸收了一些外来元素，进一步丰富了自身的文化内涵。

=== 红砖古厝的建筑特点 ===
传统闽南古厝建筑构造以木结构为主，常以四合院为中心，突出中轴对称和空间主次区分的特点，这种布局方式体现了中国传统建筑的空间理念，营造出严谨、有序的居住环境。建筑的营造结构多采用抬梁式或穿斗式为主的举架形式，充分吸收了中国传统建筑的精髓，保证了建筑的稳定性和耐久性。

闽南古厝坐北朝南，具有鲜明的外观特征，其红砖白石墙体、硬山式屋顶和双翘燕尾脊极具辨识度。屋身为实砌砖墙，外墙采用石构墙裙和红砖砌建、坚实厚重。檐下墙体使用砖墙，与石构墙裙形成鲜明对比，在建筑外观上，石块在墙体中作为面、点存在，砖缝作为线存在，巧妙地运用了点、线、面这三个形式美的构成元素，使得整个砖墙在宏观上犹如一幅极具形式美的平面构成作品，展现出独特的美学价值。

闽南红砖古厝的装饰艺术丰富多彩，图案内容以及负载的象征体现了汉文化在建筑中的传承。建筑中广泛运用中国传统纹样元素，如常见的云卷纹、花草纹等。闽南山墙将汉代漆器中育有吉祥如意之意的云气纹倒置，使其恰好适用于屋顶山墙的三角形，寓意“云如意头”。红砖墙面还镶嵌了各种各样的团，包括楼台人物、巾帼英雄、吉寿文字、海棠花、相思树等，这些墙饰都具有丰富的象征和寓意。例如，六角龟寓意长寿，八角寓意吉祥，钱币寓意财富，莲花寓意清正，石榴寓意硕果累累等。通过这些图案及纹样表达美好愿望，是闽南红砖古厝装饰艺术的一大特点，体现了“图必有意，意必吉祥”的中国传统民居装饰纹样发展规律。

=== 红砖古厝的文化意义 ===
闽南红砖古厝是闽南地区历史文化的重要见证，它记载了闽南地区数千年来的发展历程，许多红砖古厝是名人故居或历史遗存，承载着先人的足迹与辉煌，反映了不同历史时期闽南地区的社会经济、文化艺术和生活方式。通过研究红砖古厝，我们可以深入了解闽南地区的历史变迁，探寻闽南文化的发展脉络。

红砖古厝与闽南地区的民俗文化紧密相连，是民俗文化的重要载体。在古厝中，人们的日常生活、传统节庆、婚丧嫁娶等民俗活动都有独特的民俗和仪式。例如，在春节期间，闽南人会在古厝中举行祭祖、贴春联、挂灯笼等活动；婚礼时，新人会在古厝中举行传统的拜堂仪式。这些民俗活动不仅传承了闽南地区的传统文化，也增强了家族的凝聚力和认同感。同时，古厝中的装饰图案和建筑细节也蕴含着丰富的民俗文化内涵，如一些吉祥图案反映了闽南人对美好生活的向往和追求。

闽南古厝所承载的家住观念、乡土情怀等精神文化内涵，是闽南人身份认同和文化传承的重要组成部分。它不仅是居住的场所，更是闽南人精神的家园，凝聚着闽南人的情感和记忆，传承着闽南地区的文化基因。

=== 总结 ===
红砖古厝是闽南人的智慧结晶，也是研究有关闽南历史的重要依据。在目前这种多元化的社会，我们更应该从闽南红砖古厝取其精华，用在当今的建筑中，不仅可以呈现出不一样的美感，也是对闽南红砖居民的一种保护以及对红砖古厝的利用和开发，更是延续闽南人文历史的文脉。我们不应该让传统文化毁于一旦，应将传统文化薪火相传。

=== 参考文献 ===
[1]陈清.探析泉州传统民居装饰“红砖文化”[J].南京艺术学院学报:美术与设计版,2009（5）:30.
[2]王鑫刚.闽南红砖古厝外墙装饰的地域性探究.福建建筑,2016.
[3]吴丽敏.泉州红砖厝建筑风格初探[D].集美大学艺术考察报告与毕业论文,2006:9.
[4]李淋，周小儒.浅谈闽南红砖古厝的文化内涵[J].才智,2018.
[5]黄汉民.福建传统民居[M].北京:中国建筑工业出版社,2009.
[6]戴志坚.闽南传统建筑[M].厦门:厦门大学出版社,2006.

=== 术语与表达 ===
Minnan red brick ancient houses 闽南红砖古厝
China's World Heritage Tentative List 世界名录预备名录
swallow-tail ridges 燕尾脊
brick and stone interlocking 出砖入石
lifted beam system 抬梁式
dougong bracket system 穿斗式
hard mountain-style roofs 硬山式屋顶
cloud scrolls 云卷纹
floral patterns 花草纹
hexagonal tortoise 六角龟
octagon 八角
coin motifs 钱币纹
lotus patterns 莲花纹
pomegranate motifs 石榴纹

=== 问题 ===
1.闽南红砖古厝何时被列入中国世界遗产预备名录？
2.闽南红砖古厝的别称“皇宫起”源于什么建筑特征？
3.闽南古厝的建筑结构主要采用了哪两种传统形式？
4.“出砖入石”的建筑手法解决了闽南地区的什么问题？
5.闽南红砖古厝的装饰艺术中，“六角龟”和“莲花”分别象征什么？

File:Pict 4.jpg

2025-06-05T07:58:05Z

Yang Jiahong2:

2025-02-28T05:17:44Z

Yang Jiahong2: /* 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

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（Xiao Yawen）

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 (Qiu Ping）

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 （Yang Jiahong2)

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]]