https://bou.de/u/api.php?action=feedcontributions&feedformat=atom&user=Yang+Jing 2026-04-04T03:39:17Z User contributions MediaWiki 1.35.14 https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=170164 2025-07-05T14:46:02Z

<p>Yang Jing: /* Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations */</p> <hr /> <div>Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 14:30-16:10 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *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.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> 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.<br /> <br /> ==Agreement on use of classroom time==<br /> 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)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> 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.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> 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 &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> 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!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203 (Zhang Mai)<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309 <br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462（Zhao Qi）<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 (Fei Xinyu)<br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283(Wang Huaixing)<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Wu Jiating)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363 <br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491(Xiao Zixin)<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558 (She Xiao)<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Chen Sisi)<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 (Liu Yunxi)<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727 （Wang Xinyu）<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752 （Chu Hanqi）<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783(Du JIangping)<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 <br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 <br /> <br /> 201. The culture of Grass cloth 夏布 1845 <br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 <br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845(Lu Wei)<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 (Yang Jing)<br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845 (Cai Yichun)<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845 (Wang Yuxin)<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845 （Shao Keyuan）<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Zeng Zhi）<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)[[File:Changsha Stinky Tofu.pptx]]<br /> <br /> 274. God of Wealth(财神) 1845 <br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> <br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> 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?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; 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.<br /> <br /> 27. Chinese Calligraphy (Tang Yan) [[Media:Chinese_Calligraphy.pptx]]<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 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]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)[[Media:Qian_Zhongshu_Miao_Yunlong.pptx]]<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 14:30-16:10 room 613 - Student presentations=<br /> ==Presentations==<br /> 1. Topic 21: Beverages: Tea 203 (Zhang Mai) [[Media:Tea_Spring_2025.pptx]] 86<br /> <br /> 2. Topic 64: Landscapes and Tourism: The Culture of Mount Tai 606 (Qin Yi) [[Media:Mount_Tai_Spring_2025.pptx]]<br /> <br /> 3. Topic 101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang) [[Media:Lucky_Money_Spring_2025.pptx]]<br /> <br /> 4. Topic 107:National Symbols: Culture of the National Flag 1026 （Liao Zuoyun）[[Media:Culture_of_the_National_Flag_Spring_2025.pptx]]<br /> <br /> 5. Topic 155:Traditional Cuisine: Breakfast Culture of Wuhan 1480 (Liu Peini) [[Media:Wuhan_Breakfast_Spring_2025.pptx]]<br /> <br /> 6. Topic 157:Traditional Cuisine: Hotpot 1501 (Cao Chunyang) [[Media:Hot_Pot_Spring_2025.pptx]]<br /> <br /> 7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_Great_New_Inventions_Spring_2025.pdf]]<br /> <br /> ==Notes on presentations==<br /> 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.<br /> <br /> 1. 14:43-49 Only Chinese tradition explained, not Indian, Egyptian etc. &quot;Black tea&quot; (in English all &quot;hong cha&quot; is called &quot;black tea&quot;), British tea culture (add milk)<br /> <br /> 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<br /> <br /> 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<br /> <br /> 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 <br /> <br /> 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<br /> <br /> 6. 15:56-16:01 hot pot history originated in China (?), regional differences within China 87<br /> <br /> 7. 16:02-16:06 4 new inventions - not explained that these inventions were invented in other countries. 86<br /> <br /> ==Student grades: 平时成绩/签到==<br /> <br /> <br /> 75/103 students, 24级 MA翻译, class representative: Zhang Jiaxin<br /> # Jin Yichen <br /> # lu jiahui <br /> # li yuan<br /> # cao yuan<br /> # xiao luyu<br /> # zhang jiaxin +5<br /> # ye sitong<br /> # zhao yashi<br /> # jiang xinyue<br /> # yan xiang<br /> # fei xinyu <br /> # zhang qi<br /> # dai shiru<br /> # zhang zixi<br /> # zheng kaiwu<br /> # cai yichun<br /> # yang jing<br /> # liao dan<br /> # luo yan<br /> # qin yi<br /> # shao keyuan<br /> # cao chunyang<br /> # xu yangyang<br /> # liao zuoyun<br /> # cheng sixiang<br /> # du jiangping<br /> # liu qi<br /> # miao yunlong<br /> # huang qiaoqiao<br /> # chen lin<br /> # duan binyao<br /> # li ting<br /> # zeng zhi<br /> # xing xueqing<br /> # luo jingyan<br /> # liu shutian<br /> # gao xiaoqing<br /> # chen zhen<br /> # luo guoqiang -1-1-1<br /> # she xiao <br /> # he yunfeng <br /> # liu ying<br /> # du yuan <br /> # li jiayi <br /> # tao yao <br /> # xu xinwen <br /> # ou huang <br /> # liu peini<br /> # jiang ziqiang<br /> # zhang huifang<br /> # liu chao<br /> # liu yunxi <br /> # luo jiaxin<br /> # li mei<br /> # zeng xiaohui<br /> # huang yixuan<br /> # chen anqi<br /> # chen ting<br /> # zhang mai<br /> # yuan xiaolin -1-1<br /> # li mingfeng<br /> # dai yexun-1-1<br /> # yang pei -1<br /> # tang yan<br /> # xiang jianning-1<br /> # liu chang -1<br /> # wang yuxin<br /> # lv jiahao-1<br /> # dong jiating<br /> # lu wei<br /> # yang yue<br /> # guo cili<br /> # shen shuai<br /> # Ouyang yihong<br /> # li zihan -1<br /> # zuo fang<br /> # fu sihui<br /> # xiao zixin -1<br /> # zhou tianyi -1<br /> # qi zhiyang -1-1<br /> # liu pei <br /> # gong wei<br /> # chen sisi<br /> # huang sinan<br /> # xiao yikang<br /> # yu jingfang<br /> # luo sicheng<br /> # yang jiahong<br /> # yan jidong<br /> # xiao yawen<br /> # geng hongmei<br /> # zhou le<br /> # qiu ping<br /> # wang huaixing<br /> # wang xinyu<br /> # chu hanqi<br /> # wu jiating<br /> # zhang meiling<br /> # liu jianan<br /> # song xin<br /> # zhao qi<br /> # zheng jinlian<br /> # li linyao<br /> <br /> =Session 04 Fri Mar 14 14:30-16:10 room 613 - Student presentations=<br /> #Topic 260：Wedding Dress in the Song Dynasty(Liu Chao)[[Media:260 The Wedding Dress in the Song Dynasty.pptx]]<br /> #Topic 146: Traditional crafts: Xiang embroidery 1386(Zhang Huifang) [[Media:Hunan_embroidery_spring_2025.pptx]]<br /> #Topic 153:Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)[[Media:Media Eight Major Cuisines of China.pptx]]<br /> #Topic 233: Traditional Chinese Pigments (Cao Yuan)[[Media:Traditional Chinese Pigments.pptx]]<br /> #Topic 182: Chinese Economy: rich businessmen (Fu Sihui) [[Media:Rich_Businessmen_Spring_2025.pptx]]<br /> #Topic 156: Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick p. 1491 (Xiao Zixin) [[Media:Tanghulu_Spring_2025.pptx]]<br /> #Topic 138: Social: Round Table Culture 1317 (Wu Jiating) [[Media:Round_Table_Culture_Spring_2025.pptx]]<br /> #Topic 174: Jiaozi (Liu Pei) [[Media:Dumplings_Spring_2025.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing)<br /> <br /> =Session 05 Fri Mar 21 14:30-16:10 room 613 - Student presentations=<br /> #Topic 50: Games: Go 围棋 462（Zhao Qi） [[Media:Weiqi_Go_Spring_2025.pptx]]<br /> #Topic 110:Opera: Peking Opera Actor Mei Lanfang 1050 (Dai shiru)[[Media:Opera Peking Opera Actor Mei Lanfang.pptx]]<br /> # Topic 131: Silk and porcelain: Silk (Fei Xinyu) [[Media:Silk_Spring_2025.pptx]]<br /> # Topic 224: Chinese Food：Jiangxi Cuisine（赣菜）(Liao Dan) [[Media:Jiangxi_Cuisine_Spring_2025.pptx]]<br /> # Topic 169: Cuisine: Luosifen 1593 (Chen Sisi) ） [[Media:Luosifen_Spring_2025.pptx]]<br /> # Topic 167: History: Wang Shouren 1573 （Lv Jiahao)[[Media:History_Wang_Shouren_.pptx]]<br /> # Topic 183: Jiangxi Gan Opera （Wang Xinyu） [[Media:Jiangxi Gan opera.pptx]]<br /> # Topic 165: Worship: Chinese Incense Culture (She Xiao) [[Media:Chinese Incense Culture.pptx]]<br /> #133.Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing) [Media: Silk and Porcelain]<br /> <br /> =Session 06 Fri Mar 28 14:30-16:10 room 613 - Student presentations=<br /> <br /> #Topic 188:Mobile Games 手游 1783 （Du Jiangping）[[Media:Mobile Games.pdf]]<br /> #Topic 191:Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）)[[Media:Aesthetic_ideals_and_social_customs-_The_Culture_of_Flowers.pptx]]<br /> #Topic 193:Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> #Topic 195:Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)[[Media: Cuju.pptx]]<br /> #Topic 202:The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)[[Media: The Legend of Zhen Huan.pptx]]<br /> #Topic 203:Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)[[Media: Chinese Horror Movies.pptx]]<br /> #Topic 185:Opera: Huangmei opera 1752 （Chu Hanqi）<br /> #Topic 181:Animals：Golden Monkey 1712（Xiao Yawen）<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> =HOLIDAY Session 07 Fri Apr 04 14:30-16:10 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 14:30-16:10 Zhishan Bldg. room 303 - Student presentations=<br /> #Topic 133:Silk and Porcelain: Celadon and “Celadon Song”青花瓷歌词（Wang Huaixing）<br /> #Topic 179:Traditional and Modern Views on Marriage and Love（Liu Yunxi）[[Media:Traditional and Modern Views on Marriage and Love .pptx]]<br /> #Topic 181:Animals：Golden Monkey(Xiao Yawen)<br /> #Topic 196:The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]<br /> #Topic 204:Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> #Topic 220:Rice cake 年糕 (Dong Jiating)<br /> #Topic 208:Chinese traditional ornament: Buyao(Yang Jing)[[Media:Chinese Traditional Ornament-Buyao.pptx]]<br /> #Topic 209:Tofu meatball with nia blood(Li Ting2)[[Media:Pig_Blood_Balls.pptx]]<br /> #Topic 212:Education：training Schools （教育：补习班） 1845 (Huang Yixuan2) [[Media:Training classes .pptx]]<br /> <br /> =Session 09 Fri Apr 18 14:30-16:10 room 613 - Student presentations=<br /> #Topic 213: Chinese Dreamcore (Zhang Zixi)[[Media:Chinese Dreamcore.pptx]]<br /> #Topic 215: Live-streaming e-commerce (Tao Yao)[[Media:Live-Streaming E-Commerce.pptx]]<br /> #Topic 216: The Story of Ming Lan (Ye Sitong)[[Media:The Story of Minglan.pptx]]<br /> #Topic 218: Guangdong Herbal tea (Gao Xiaoqing)<br /> #Topic 219: Chinese traditional art form：Seal carving（篆刻） (Huang Qiaoqiao)[[Media:Seal carving.pptx]]<br /> #Topic 207: Shan Dong Cuisine (Lu Wei) [[Media:Lu_Wei-207-Shandong_Cuisine.pptx]]<br /> #Topic 221: Zhongyuan Festival (Ou Huang)[[Media:The Zhongyuan Festival.pptx]]<br /> #Topic 223: The Return of the Pearl Princess (Lu Jiahui)[[Media:The Return of the Pearl Princess.pptx]]<br /> <br /> =Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=<br /> #Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)[[Media:ChaBaiXi.pptx]]<br /> #Topic 225: Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)<br /> #Topic 227: Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]<br /> #Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]<br /> #Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]<br /> #Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)<br /> #Topic 232: Sun Wukong(Li Yuan)[[Media:0425 Sun Wukong.pptx]]<br /> #Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]<br /> #Topic 235: Bamboo Weaving(Chen Anqi)<br /> #Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)[[Media:Harbin Ice and Snow World.pptx]]<br /> <br /> ==Please enroll in ai platform==<br /> Please enroll (register) in the platform https://dcg.de/ai/<br /> <br /> =HOLIDAY Session 11 Fri May 02 14:30-16:10 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> <br /> =Session 12 Tue May 06 10:00-11:40 room 613 - Student presentations=<br /> #Topic 238: Three Famous Chinese Mountains(Liu Chang)<br /> #Topic 239: Female emperor-Wu Zetian(女皇武则天)(Song Xin) [[Media:Wu Zetian.pptx]]<br /> #Topic 240: Clay sculpture (泥塑）(Chen Lin)[[Media:Clay Sculpture.pptx]]<br /> #Topic 242: Hunan Rice Noodles(Gong Wei)[[Media:Hunan Rice Noodles.pptx]]<br /> #Topic 244: Chinese Popular Memes(中国网络流行热梗）(Xiao Yikang)[[Media:Chinese popular Memes.pptx]] <br /> #Topic 245: Douzhi (豆汁)(Li Linyao)[[Media:Douzhi.pptx]]<br /> #Topic 246: New Year Wood-block Paintings(Du Yuan)[[Media:Du Yuan New Year Wood-block Painting.pptx]]<br /> #Topic 247: Carved lacquer（雕漆）(Liu Qi)[[Media:Carved lacquer.pptx]]<br /> #Topic 237: Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan)(Li Zihan)<br /> <br /> ==Regarding Wu Zetian‘s blank Steele==<br /> 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：<br /> #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。<br /> #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。<br /> #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。<br /> #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。<br /> #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。<br /> <br /> ⸻<br /> <br /> English Translation:<br /> <br /> There are several main hypotheses about why Wu Zetian’s stele (often called the “Wordless Stele”) bears no inscription:<br /> #“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.<br /> #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.<br /> #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.<br /> #Intended to write later: Some believe she planned to inscribe it later in life but passed away before doing so, leaving the monument unfinished.<br /> #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.<br /> <br /> =Session 13 Fri May 09 14:30-16:10 room 613 - Student presentations=<br /> #Topic 248: Jing Gang Mountain (井冈山）(Yu Jingfang) [[Media:Jing_Gang_Mountain_Spring_2025.pptx]]<br /> #Topic 251: Rice noodle roll (Li Mingfeng)[[Media:Rice_Noodle_Roll.pptx]]<br /> #Topic 252: Traditional Cuisine: Northeastern Chinese Cuisine (Liu Shutian)<br /> #Topic 253: Yuelu Mountain (Chen Ting) [[Media:Yuelu_Mountain.pptx]]<br /> #Topic 254: Traditional Crafts：Tie-Dye (Zhang Qi)[[Media:Traditional_Crafts_Tie-Dye.pptx]]<br /> #Topic 255: Chinese-style sun protection (Zhao Yashi)[[ File:Chinese-style Sun Protection.pdf]]<br /> #Topic 256: Danmu（弹幕）(Zhou Le)[[Media:Danmu.pptx]]<br /> #Topic 259: Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua (Zhou Tianyi)<br /> #Topic 214: Luban China's inventor (Cai Yichun)<br /> <br /> =Session 14 Fri May 23 14:30-16:10 room 613 - Student presentations=<br /> #Topic 262: The Four Pillars of Destiny(Li Jiayi) [[Media:Eight Characters.pptx]]<br /> #Topic 263: Shaolin Temple(Zuo Fang)<br /> #Topic 265: Cuisine: Changde spicy salted duck(Xing Xueqing)[[Media:Changde spicy salted duck.pptx]]<br /> #15:25-15:30 Topic 266: Hui Culture (徽文化)(Liu Jianan)[[Media:Hui Culture.pptx]]<br /> #15:30- Topic 267: Ma Zu Culture (妈祖文化)(Yan Jidong)[[Media:Mazu culture.pptx]]<br /> #15:35- Topic 268: Table manner(Luo Yan)[[Media:Table manner.pptx]]<br /> #15:40- Topic 270: Yingge Dance(Jiang Xinyue)[[Media:Yingge Dance.pptx]]<br /> #15:45- Topic 271: Palace Lantern(Shao Keyuan)<br /> #15:50- Topic 272: Chinese Endearing Terms(Zeng Zhi)[[Media:Chinese Endearing Terms.pptx]]<br /> <br /> 15:55-16:10 Check final exam paper topics<br /> <br /> =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=<br /> #Topic 273: Changsha Stinky Tofu（长沙臭豆腐）(Luo Sicheng)[[Media:Changsha Stinky Tofu.pptx]]<br /> #&lt;nowiki&gt;Topic 274:&lt;/nowiki&gt; God of wealth(Liu Ying)<br /> #Topic 275: Zhua zhou (抓周）(Zeng Xiaohui) [[Media:Zhuazhou.pptx]]<br /> #Topic 276: Nail art(Luo Jiaxin)[[Media:Nail_Art.pptx]]<br /> #Topic 277: Mirror(Cheng Sixiang)[[Media:Mirror_Cheng Sixiang.pptx]]<br /> #Topic 278: The Beef Board Noodles(Yan Xiang)[[Media:Beef Board Noodles.pptx]]<br /> #Topic 279: Huo Qubing(Luo Jingyan)<br /> #Topic 280: Chinese Courtyard Houses（中国四合院）(Guo Cili)[[Media:Chinese Courtyard Houses-Guo Cili.pptx]]<br /> #Topic 281: yangqin(Dai Yexun)<br /> <br /> =Session 16 Fri Jun 6 14:30-16:10 room 613=<br /> #Topic 282: Black Myth: Wukong (Chen Zhen)<br /> #Topic 283: Guangdong Morning Tea Culture (Yuan Xiaolin)[[Media:Guangdong_Morning_Tea.pptx]]<br /> #Topic 283: Guangdong Morning Tea Culture （广东早茶文化）(Zheng Jinlian)[[Media:Guangdong Morning Tea Culture-Zheng Jinlian.pptx]]<br /> #Topic:(Luo Guoqiang) Liuyang Fireworks <br /> <br /> “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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 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.<br /> <br /> 浏阳烟花<br /> <br /> “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。<br /> <br /> 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。<br /> <br /> 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。<br /> <br /> 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。<br /> <br /> 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。<br /> <br /> 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。<br /> <br /> =Deadline extended to June 20, 2025 - Final Exam=<br /> &lt;span style=&quot;color:red&quot;&gt;Please upload your ppt if you not have done so so far.&lt;/span&gt;<br /> [[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]<br /> <br /> Topic 196:[[Media:Chinese_Electtic_Vehicles_Geng_hongmei.pptx]]<br /> <br /> [[Media:ChaBaiXi.pptx]]<br /> <br /> ==Grading Criteria for Powerpoint Presentations==<br /> #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 &quot;good&quot; or &quot;best&quot;, but did it instead use vocabulary like &quot;fascinating&quot;, &quot;surprising&quot; etc. and also indicated to whom it is fascinating/surprising etc. and why?<br /> #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?)<br /> #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)?<br /> #Was the presentation appropriate to the topic?<br /> #Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?<br /> #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?<br /> #Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?<br /> #Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?<br /> #Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?<br /> #Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?<br /> #Did you present your ppt file in the full screen mode?<br /> #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?<br /> #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.?<br /> <br /> ==How to write your final exam paper?==<br /> 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 &lt;span style=&quot;color:red&quot;&gt;<br /> '''New deadline to fulfill these more specified requirements: June 20, 2025'''.&lt;/span&gt;<br /> <br /> 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.<br /> <br /> ===Sections===<br /> Title, student name, Abstract, Main part, illustrations, Terms and Expressions, Questions, Answers, References, and AI Statement.<br /> <br /> The AI statement should look like this:<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> or, if you actually use AI<br /> <br /> &lt;span style=&quot;color:red&quot;&gt;'''How about letting AI write for me?'''<br /> <br /> Your AI statement in the References section needs to look like this:<br /> <br /> To help me to write my final paper, I have used the following AI chatbot: ... I have prompted the chatbot with the following prompt: &quot;...&quot; I found the following problems with the outcome: ... I have adjusted the output by the following measures (revising prompt as: &quot;....&quot; or manually correcting the following references: ... Written the following passage new: ...).<br /> <br /> If you use AI, not your paper will be graded, but your prompt and adjustments<br /> <br /> ===References===<br /> *Please add the sources in the form &quot;(Wang 2020, 445)&quot; behind each paragraph and with a long entry in the References section.<br /> *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.<br /> *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.<br /> <br /> ===Formatting===<br /> *Please also add free lines at places where you want to have a line break, e.g. after a header.&lt;/span&gt;<br /> <br /> [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Yang Jing https://bou.de/u/index.php?title=File:Chinese_Traditional_Ornament-Buyao.pptx&diff=170163 2025-07-05T14:41:57Z

<p>Yang Jing: </p> <hr /> <div></div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=170134 2025-06-25T15:26:20Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> Yang Jing<br /> <br /> '''Abstract'''<br /> <br /> This article introduces the grain painting, an intangible cultural heritage, mainly covering its materials, features, historical development, typical representatives, classifications, and cultural connotations.<br /> <br /> '''I. Introduction''' <br /> <br /> The art of Chinese grain painting is a superb folk craftsmanship in the long-standing farming civilization of China, with a history of over 1,700 years. Different from traditional painting relying on pigments, the colors of grain painting are derived from nature: golden corn kernels, crimson sorghum, silvery coix seeds, and inky kidney beans—each grain serves as a natural “palette”. Creators conceive according to the natural shapes, colors, and textures of grains, grass seeds, rapeseed, flower seeds, etc. After anti-corrosion and anti-insect treatment, through processes like dyeing, cutting, piecing, pasting, arranging, and carving, and using modeling techniques such as composition, lines, light and shade, and color, they meticulously create images of calligraphy, landscapes, figures, flowers, and birds, sublimating food originally for satiety into artworks carrying aesthetics. Not only is grain painting natural, environmentally friendly, and full of rural charm, but it also implies the beautiful meaning of “national peace and security, and abundant harvests”, thus being called the “spiritual food” hung on the wall.(Han 2018, 1)<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.(Han 2018, 1) <br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like ''Along the River During the Qingming Festival'' meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.（Qin2016，19；YanZhao Evening News 2021）<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Ⅴ. Cultural Connotations''' <br /> <br /> Grain painting carries profound cultural connotations and contemporary significance. As a visual expression of farming civilization, it not only conveys respect for the land and food but also embodies the good wishes for a bountiful harvest, prosperity, and well-being. As an intangible cultural heritage craft, grain painting connects folk memories and rural sentiments. Themes like flowers, birds, and auspicious patterns highlight the Oriental aesthetic concept of “harmony between man and nature”. In the modern era, grain painting breaks through traditional boundaries, integrating artistic aesthetics with environmental concepts. It not only awakens people’s appreciation for farming culture but also serves as a vivid carrier of cultural empowerment in rural revitalization, achieving the coexistence and mutual prosperity of traditional craftsmanship and modern life.(Yu 2021, 14; Wang 2025, 1)<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 coix seeds<br /> <br /> 芸豆 kidney beans<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''Answers'''<br /> <br /> 1. The creative materials of grain painting are various plant seeds and grains, with colors derived from nature; traditional painting relies on pigments. <br /> <br /> 2. During the Tang and Song dynasties. <br /> <br /> 3. The northern style is represented by Guantao in Hebei, while the southern style takes Beibei in Chongqing as the core representative. <br /> <br /> 4. In terms of craftsmanship, colored grain paintings use special dyeing for grains and seeds, which never fade; in terms of visual effects, they solve the problems of monotonous and dull colors, making the pictures gorgeous, vivid, and full of verve. <br /> <br /> 5. Composite color grain paintings give priority to original-color grains and supplement them with dyed grains, maintaining the natural colors and distinct layers of traditional grain paintings while solving the problem of monotonous colors, thus integrating tradition and innovation. <br /> <br /> 6. Luminescent grain paintings achieve artistic effects by incorporating fluorescent materials into grains and seeds through special techniques; they are suitable for modern art scenes and nighttime cultural consumption needs.<br /> <br /> '''References'''<br /> <br /> 韩国瑞(hán guó ruì). 换个造型卖粮食 五谷作画绘人生(huàn gè zào xíng mài liáng shi wǔ gǔ zuò huà huì rén shēng)[J]. 文化产业, 2018, (13): 1-2.<br /> <br /> 秦嵩宁(qín sōng níng). 粮画小镇(liáng huà xiǎo zhèn)[J]. 中国集体经济, 2016, (35): 18-21.<br /> <br /> 王梦洁(wáng mèng jié). 粮画小镇为啥成”标杆”?(liáng huà xiǎo zhèn wèi shá chéng “biāo gān”?)[N]. 邯郸日报, 2025-02-15(001).<br /> <br /> 燕赵晚报(yàn zhào wǎn bào). 2021. 不到百元5斤杂粮制作《清明上河图》价值48万 (bú dào bǎi yuán 5 jīn zá liáng zhì zuò 《qīng míng shàng hé tú》jià zhí 48 wàn). 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁(yú guǎng níng). 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷(guǎn táo liáng huà xiǎo zhèn qīng lì huì zhì xiāng cūn zhèn xīng jǐn xiù huà juàn)[J]. 河北农业, 2021, (03): 14-17.<br /> <br /> '''AI Statement'''<br /> <br /> I hereby guarantee that I have not used the help of AI to write my final paper in this course.<br /> <br /> '''粮画'''<br /> <br /> 杨静<br /> <br /> '''摘要'''<br /> <br /> 本文对粮画这一非物质文化遗产进行了介绍，主要介绍了其材料、特点、历史发展、典型代表、分类及文化内涵等。<br /> <br /> '''一、简介'''<br /> <br /> 中国粮画艺术是华夏悠久农耕文明中的一种高超民间技艺，迄今已有1700多年的历史。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据粮食、草籽、菜籽、花种等颗粒的自然形状、颜色和纹理进行构思，将其进行防腐防虫处理后，加之染、切、拼、粘、排、雕等工艺，运用构图、线条、明暗、色彩等造型手法，将其精心创作成书法、山水、人物、花鸟等形象，使原本用于饱腹的粮食升华为承载美学的艺术品。粮画不但天然环保，充满乡土气息，且有“国泰民安、五谷丰登”的美好寓意，被人们称为挂在墙上的“精神食粮”。（韩 2018, 1）<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。（韩 2018, 1）<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。（秦2016，19；燕赵晚报2021）<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''五、文化内涵'''<br /> <br /> 粮画承载着深厚的文化内涵与时代意义。它是农耕文明的视觉化表达，既传递对土地与粮食的敬畏，也寄托祈愿丰收、富足安康的美好愿景。作为非遗技艺，粮画串联起民俗记忆与乡土情怀，其花鸟、吉祥纹样等题材，彰显着“天人合一”的东方美学观。在当代，粮画更突破传统边界，兼具艺术审美与环保理念，不仅唤醒人们对农耕文化的珍视，还成为乡村振兴中文化赋能的鲜活载体，实现传统技艺与现代生活的共生共荣。 （于2021，14；王2025, 1）<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 coix seeds<br /> <br /> 芸豆 kidney beans<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''答案'''<br /> <br /> 1. 粮画的创作材料是各类植物种子、谷物，色彩取自自然；传统绘画依赖颜料。<br /> <br /> 2. 唐宋年间。<br /> <br /> 3. 北方以河北馆陶为代表，南方以重庆北碚为核心代表。<br /> <br /> 4. 工艺上，彩色粮画对粮食和种子进行特制染色，可永不褪色；视觉效果上，解决了颜色单调、灰暗的问题，画面绚丽多彩、生动有神韵。<br /> <br /> 5. 合成色粮画以原色粮食为主，染色粮食为辅，既保持传统粮画色彩自然、层次分明的特点，又解决颜色单调问题，实现传统与创新融合。<br /> <br /> 6. 夜光粮画通过特殊工艺将荧光材料融入粮食与种子实现艺术效果；适应现代艺术场景与夜间文化消费需求。<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生[J]. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇[J]. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷[J]. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多[J]. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型[J]. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=169797 2025-06-20T06:05:21Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> Yang Jing<br /> <br /> '''Abstract'''<br /> <br /> This article introduces the grain painting, an intangible cultural heritage, mainly covering its materials, features, historical development, typical representatives, classifications, and cultural connotations.<br /> <br /> '''I. Introduction''' <br /> <br /> The art of Chinese grain painting is a superb folk craftsmanship in the long-standing farming civilization of China, with a history of over 1,700 years. Different from traditional painting relying on pigments, the colors of grain painting are derived from nature: golden corn kernels, crimson sorghum, silvery coix seeds, and inky kidney beans—each grain serves as a natural “palette”. Creators conceive according to the natural shapes, colors, and textures of grains, grass seeds, rapeseed, flower seeds, etc. After anti-corrosion and anti-insect treatment, through processes like dyeing, cutting, piecing, pasting, arranging, and carving, and using modeling techniques such as composition, lines, light and shade, and color, they meticulously create images of calligraphy, landscapes, figures, flowers, and birds, sublimating food originally for satiety into artworks carrying aesthetics. Not only is grain painting natural, environmentally friendly, and full of rural charm, but it also implies the beautiful meaning of “national peace and security, and abundant harvests”, thus being called the “spiritual food” hung on the wall.(Han 2018, 1)<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.(Han 2018, 1) <br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like ''Along the River During the Qingming Festival'' meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.（Qin2016，19；YanZhao Evening News 2021）<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Ⅴ. Cultural Connotations''' <br /> <br /> Grain painting carries profound cultural connotations and contemporary significance. As a visual expression of farming civilization, it not only conveys respect for the land and food but also embodies the good wishes for a bountiful harvest, prosperity, and well-being. As an intangible cultural heritage craft, grain painting connects folk memories and rural sentiments. Themes like flowers, birds, and auspicious patterns highlight the Oriental aesthetic concept of “harmony between man and nature”. In the modern era, grain painting breaks through traditional boundaries, integrating artistic aesthetics with environmental concepts. It not only awakens people’s appreciation for farming culture but also serves as a vivid carrier of cultural empowerment in rural revitalization, achieving the coexistence and mutual prosperity of traditional craftsmanship and modern life.(Yu 2021, 14; Wang 2025, 1)<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 coix seeds<br /> <br /> 芸豆 kidney beans<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''Answers'''<br /> <br /> 1. The creative materials of grain painting are various plant seeds and grains, with colors derived from nature; traditional painting relies on pigments. <br /> <br /> 2. During the Tang and Song dynasties. <br /> <br /> 3. The northern style is represented by Guantao in Hebei, while the southern style takes Beibei in Chongqing as the core representative. <br /> <br /> 4. In terms of craftsmanship, colored grain paintings use special dyeing for grains and seeds, which never fade; in terms of visual effects, they solve the problems of monotonous and dull colors, making the pictures gorgeous, vivid, and full of verve. <br /> <br /> 5. Composite color grain paintings give priority to original-color grains and supplement them with dyed grains, maintaining the natural colors and distinct layers of traditional grain paintings while solving the problem of monotonous colors, thus integrating tradition and innovation. <br /> <br /> 6. Luminescent grain paintings achieve artistic effects by incorporating fluorescent materials into grains and seeds through special techniques; they are suitable for modern art scenes and nighttime cultural consumption needs.<br /> <br /> '''References'''<br /> <br /> 韩国瑞(hán guó ruì). 换个造型卖粮食 五谷作画绘人生(huàn gè zào xíng mài liáng shi wǔ gǔ zuò huà huì rén shēng)[J]. 文化产业, 2018, (13): 1-2.<br /> <br /> 秦嵩宁(qín sōng níng). 粮画小镇(liáng huà xiǎo zhèn)[J]. 中国集体经济, 2016, (35): 18-21.<br /> <br /> 王梦洁(wáng mèng jié). 粮画小镇为啥成”标杆”?(liáng huà xiǎo zhèn wèi shá chéng “biāo gān”?)[N]. 邯郸日报, 2025-02-15(001).<br /> <br /> 燕赵晚报(yàn zhào wǎn bào). 2021. 不到百元5斤杂粮制作《清明上河图》价值48万 (bú dào bǎi yuán 5 jīn zá liáng zhì zuò 《qīng míng shàng hé tú》jià zhí 48 wàn). 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁(yú guǎng níng). 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷(guǎn táo liáng huà xiǎo zhèn qīng lì huì zhì xiāng cūn zhèn xīng jǐn xiù huà juàn)[J]. 河北农业, 2021, (03): 14-17.<br /> <br /> <br /> '''粮画'''<br /> <br /> 杨静<br /> <br /> '''摘要'''<br /> <br /> 本文对粮画这一非物质文化遗产进行了介绍，主要介绍了其材料、特点、历史发展、典型代表、分类及文化内涵等。<br /> <br /> '''一、简介'''<br /> <br /> 中国粮画艺术是华夏悠久农耕文明中的一种高超民间技艺，迄今已有1700多年的历史。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据粮食、草籽、菜籽、花种等颗粒的自然形状、颜色和纹理进行构思，将其进行防腐防虫处理后，加之染、切、拼、粘、排、雕等工艺，运用构图、线条、明暗、色彩等造型手法，将其精心创作成书法、山水、人物、花鸟等形象，使原本用于饱腹的粮食升华为承载美学的艺术品。粮画不但天然环保，充满乡土气息，且有“国泰民安、五谷丰登”的美好寓意，被人们称为挂在墙上的“精神食粮”。（韩 2018, 1）<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。（韩 2018, 1）<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。（秦2016，19；燕赵晚报2021）<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''五、文化内涵'''<br /> <br /> 粮画承载着深厚的文化内涵与时代意义。它是农耕文明的视觉化表达，既传递对土地与粮食的敬畏，也寄托祈愿丰收、富足安康的美好愿景。作为非遗技艺，粮画串联起民俗记忆与乡土情怀，其花鸟、吉祥纹样等题材，彰显着“天人合一”的东方美学观。在当代，粮画更突破传统边界，兼具艺术审美与环保理念，不仅唤醒人们对农耕文化的珍视，还成为乡村振兴中文化赋能的鲜活载体，实现传统技艺与现代生活的共生共荣。 （于2021，14；王2025, 1）<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 coix seeds<br /> <br /> 芸豆 kidney beans<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''答案'''<br /> <br /> 1. 粮画的创作材料是各类植物种子、谷物，色彩取自自然；传统绘画依赖颜料。<br /> <br /> 2. 唐宋年间。<br /> <br /> 3. 北方以河北馆陶为代表，南方以重庆北碚为核心代表。<br /> <br /> 4. 工艺上，彩色粮画对粮食和种子进行特制染色，可永不褪色；视觉效果上，解决了颜色单调、灰暗的问题，画面绚丽多彩、生动有神韵。<br /> <br /> 5. 合成色粮画以原色粮食为主，染色粮食为辅，既保持传统粮画色彩自然、层次分明的特点，又解决颜色单调问题，实现传统与创新融合。<br /> <br /> 6. 夜光粮画通过特殊工艺将荧光材料融入粮食与种子实现艺术效果；适应现代艺术场景与夜间文化消费需求。<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生[J]. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇[J]. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷[J]. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多[J]. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型[J]. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=169653 2025-06-19T16:07:29Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> Yang Jing<br /> <br /> '''Abstract'''<br /> <br /> This article introduces the grain painting, an intangible cultural heritage, mainly covering its materials, features, historical development, typical representatives, classifications, and cultural connotations.<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Ⅴ. Cultural Connotations''' <br /> <br /> Grain painting carries profound cultural connotations and contemporary significance. As a visual expression of farming civilization, it not only conveys respect for the land and food but also embodies the good wishes for a bountiful harvest, prosperity, and well-being. As an intangible cultural heritage craft, grain painting connects folk memories and rural sentiments. Themes like flowers, birds, and auspicious patterns highlight the Oriental aesthetic concept of “harmony between man and nature”. In the modern era, grain painting breaks through traditional boundaries, integrating artistic aesthetics with environmental concepts. It not only awakens people’s appreciation for farming culture but also serves as a vivid carrier of cultural empowerment in rural revitalization, achieving the coexistence and mutual prosperity of traditional craftsmanship and modern life.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''Answers'''<br /> <br /> 1. The creative materials of grain painting are various plant seeds and grains, with colors derived from nature; traditional painting relies on pigments. <br /> <br /> 2. During the Tang and Song dynasties. <br /> <br /> 3. The northern style is represented by Guantao in Hebei, while the southern style takes Beibei in Chongqing as the core representative. <br /> <br /> 4. In terms of craftsmanship, colored grain paintings use special dyeing for grains and seeds, which never fade; in terms of visual effects, they solve the problems of monotonous and dull colors, making the pictures gorgeous, vivid, and full of verve. <br /> <br /> 5. Composite color grain paintings give priority to original-color grains and supplement them with dyed grains, maintaining the natural colors and distinct layers of traditional grain paintings while solving the problem of monotonous colors, thus integrating tradition and innovation. <br /> <br /> 6. Luminescent grain paintings achieve artistic effects by incorporating fluorescent materials into grains and seeds through special techniques; they are suitable for modern art scenes and nighttime cultural consumption needs.<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> 杨静<br /> <br /> '''摘要'''<br /> <br /> 本文对粮画这一非物质文化遗产进行了介绍，主要介绍了其材料、特点、历史发展、典型代表、分类及文化内涵等。<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''五、文化内涵'''<br /> <br /> 粮画承载着深厚的文化内涵与时代意义。它是农耕文明的视觉化表达，既传递对土地与粮食的敬畏，也寄托祈愿丰收、富足安康的美好愿景。作为非遗技艺，粮画串联起民俗记忆与乡土情怀，其花鸟、吉祥纹样等题材，彰显着“天人合一”的东方美学观。在当代，粮画更突破传统边界，兼具艺术审美与环保理念，不仅唤醒人们对农耕文化的珍视，还成为乡村振兴中文化赋能的鲜活载体，实现传统技艺与现代生活的共生共荣。 <br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''答案'''<br /> <br /> 1. 粮画的创作材料是各类植物种子、谷物，色彩取自自然；传统绘画依赖颜料。<br /> <br /> 2. 唐宋年间。<br /> <br /> 3. 北方以河北馆陶为代表，南方以重庆北碚为核心代表。<br /> <br /> 4. 工艺上，彩色粮画对粮食和种子进行特制染色，可永不褪色；视觉效果上，解决了颜色单调、灰暗的问题，画面绚丽多彩、生动有神韵。<br /> <br /> 5. 合成色粮画以原色粮食为主，染色粮食为辅，既保持传统粮画色彩自然、层次分明的特点，又解决颜色单调问题，实现传统与创新融合。<br /> <br /> 6. 夜光粮画通过特殊工艺将荧光材料融入粮食与种子实现艺术效果；适应现代艺术场景与夜间文化消费需求。<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=169647 2025-06-19T16:03:04Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> Yang Jing<br /> <br /> '''Abstract'''<br /> <br /> This article introduces the grain painting, an intangible cultural heritage, mainly covering its materials, features, historical development, typical representatives, classifications, and cultural connotations.<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Ⅴ. Cultural Connotations''' <br /> <br /> Grain painting carries profound cultural connotations and contemporary significance. As a visual expression of farming civilization, it not only conveys respect for the land and food but also embodies the good wishes for a bountiful harvest, prosperity, and well-being. As an intangible cultural heritage craft, grain painting connects folk memories and rural sentiments. Themes like flowers, birds, and auspicious patterns highlight the Oriental aesthetic concept of “harmony between man and nature”. In the modern era, grain painting breaks through traditional boundaries, integrating artistic aesthetics with environmental concepts. It not only awakens people’s appreciation for farming culture but also serves as a vivid carrier of cultural empowerment in rural revitalization, achieving the coexistence and mutual prosperity of traditional craftsmanship and modern life.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''Answers'''<br /> <br /> 1. The creative materials of grain painting are various plant seeds and grains, with colors derived from nature; traditional painting relies on pigments. <br /> <br /> 2. During the Tang and Song dynasties. <br /> <br /> 3. The northern style is represented by Guantao in Hebei, while the southern style takes Beibei in Chongqing as the core representative. <br /> <br /> 4. In terms of craftsmanship, colored grain paintings use special dyeing for grains and seeds, which never fade; in terms of visual effects, they solve the problems of monotonous and dull colors, making the pictures gorgeous, vivid, and full of verve. <br /> <br /> 5. Composite color grain paintings give priority to original-color grains and supplement them with dyed grains, maintaining the natural colors and distinct layers of traditional grain paintings while solving the problem of monotonous colors, thus integrating tradition and innovation. <br /> <br /> 6. Luminescent grain paintings achieve artistic effects by incorporating fluorescent materials into grains and seeds through special techniques; they are suitable for modern art scenes and nighttime cultural consumption needs.<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> 杨静<br /> <br /> '''摘要'''<br /> <br /> 本文对粮画这一非物质文化遗产进行了介绍，主要介绍了其材料、特点、历史发展、典型代表、分类及文化内涵等。<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''五、文化内涵'''<br /> <br /> 粮画承载着深厚的文化内涵与时代意义。它是农耕文明的视觉化表达，既传递对土地与粮食的敬畏，也寄托祈愿丰收、富足安康的美好愿景。作为非遗技艺，粮画串联起民俗记忆与乡土情怀，其花鸟、吉祥纹样等题材，彰显着“天人合一”的东方美学观。在当代，粮画更突破传统边界，兼具艺术审美与环保理念，不仅唤醒人们对农耕文化的珍视，还成为乡村振兴中文化赋能的鲜活载体，实现传统技艺与现代生活的共生共荣。 <br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''答案'''<br /> <br /> 1. 粮画的创作材料是各类植物种子、谷物，色彩取自自然；传统绘画依赖颜料。<br /> <br /> 2. 唐宋年间。<br /> <br /> 3. 北方以河北馆陶为代表，南方以重庆北碚为核心代表。<br /> <br /> 4. 工艺上，彩色粮画对粮食和种子进行特制染色，可永不褪色；视觉效果上，解决了颜色单调、灰暗的问题，画面绚丽多彩、生动有神韵。<br /> <br /> 5. 合成色粮画以原色粮食为主，染色粮食为辅，既保持传统粮画色彩自然、层次分明的特点，又解决颜色单调问题，实现传统与创新融合。<br /> <br /> 6. 夜光粮画通过特殊工艺将荧光材料融入粮食与种子实现艺术效果；适应现代艺术场景与夜间文化消费需求。<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=168002 2025-06-05T15:09:59Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

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Yang Jing https://bou.de/u/index.php?title=File:Qmsht.jpeg&diff=167985 2025-06-05T14:49:10Z

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Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=167984 2025-06-05T14:48:34Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> [[File:Qmsht.jpg]]<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> [[File:Qmsht.jpg]]<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=File:Wugu.jpg&diff=167975 2025-06-05T14:46:18Z

<p>Yang Jing: </p> <hr /> <div></div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=167972 2025-06-05T14:45:46Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> [[File:Wugu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=167960 2025-06-05T14:41:49Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> [[File:Wu.jpg]]<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> [[File:Wu.jpg]]<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=File:Lianghua.jpg&diff=167954 2025-06-05T14:36:55Z

<p>Yang Jing: </p> <hr /> <div></div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=167952 2025-06-05T14:35:57Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> [[File:Lianghua.jpg]]<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=167893 2025-06-05T14:07:41Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> <br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> <br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> <br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> <br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> <br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> <br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> <br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> <br /> 薏米 seeds of job's tears<br /> <br /> 芸豆 kidney beans<br /> <br /> 黍 millet<br /> <br /> 稷 broomcorn millet<br /> <br /> 菽 beans <br /> <br /> 五谷 five grains<br /> <br /> 五谷丰登 abundant harvests<br /> <br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> <br /> 麦秸 wheat straw<br /> <br /> 烙画 pyrography<br /> <br /> 《清明上河图》 Along the River During the Qingming Festival <br /> <br /> 黄土高原 the Loess Plateau<br /> <br /> 合成色粮画 composite color grain painting<br /> <br /> 夜光粮画 luminescent grain painting<br /> <br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> <br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> <br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> <br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> <br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> <br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> <br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> <br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> <br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> <br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> <br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=167884 2025-06-05T14:03:12Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> <br /> '''I. Introduction''' <br /> <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> <br /> '''II. Historical Development''' <br /> <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> <br /> '''III. Typical Representations'''<br /> <br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> <br /> '''IV. Classification''' <br /> <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> '''Terms and Expressions'''<br /> <br /> 高粱米 sorghum<br /> 薏米 seeds of job's tears<br /> 芸豆 kidney beans<br /> 黍 millet<br /> 稷 broomcorn millet<br /> 菽 beans <br /> 五谷 five grains<br /> 五谷丰登 abundant harvests<br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> 麦秸 wheat straw<br /> 烙画 pyrography<br /> 《清明上河图》 Along the River During the Qingming Festival <br /> 黄土高原 the Loess Plateau<br /> 合成色粮画 composite color grain painting<br /> 夜光粮画 luminescent grain painting<br /> 荧光材料 fluorescent materials<br /> <br /> '''Questions'''<br /> <br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> '''References'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> <br /> '''一、简介'''<br /> <br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> <br /> '''二、历史发展'''<br /> <br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> <br /> '''三、典型代表'''<br /> <br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> <br /> '''四、分类'''<br /> <br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> '''术语'''<br /> <br /> 高粱米 sorghum<br /> 薏米 seeds of job's tears<br /> 芸豆 kidney beans<br /> 黍 millet<br /> 稷 broomcorn millet<br /> 菽 beans <br /> 五谷 five grains<br /> 五谷丰登 abundant harvests<br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> 麦秸 wheat straw<br /> 烙画 pyrography<br /> 《清明上河图》 Along the River During the Qingming Festival <br /> 黄土高原 the Loess Plateau<br /> 合成色粮画 composite color grain painting<br /> 夜光粮画 luminescent grain painting<br /> 荧光材料 fluorescent materials<br /> <br /> '''问题'''<br /> <br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> '''参考文献'''<br /> <br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=User:Yang_Jing&diff=167433 2025-06-04T09:49:03Z

<p>Yang Jing: </p> <hr /> <div>'''Grain Paintings'''<br /> I. Introduction <br /> Grain painting is a form of planar or three-dimensional artwork created by pasting, assembling, and carving various plant seeds and grains onto a base. Unlike traditional painting that relies on pigments, grain painting derives its colors from nature: golden corn kernels, crimson sorghum, silvery seeds of job's tears, and inky black kidney beans--each grain serves as a natural &quot;palette&quot;. Artists conceive compositions based on the shape, color, and texture of grains, arranging them into landscapes, flowers, birds, figures, stories, or even abstract patterns, transforming staple foods into aesthetic artworks. The use of the &quot;five grains&quot; (rice, millet, broomcorn millet, wheat, and beans) embodies the agrarian civilization's reverence for the land, with each piece serving as a visual expression of folk culture. Grain painting is not merely a visual art but also carries profound cultural connotations.<br /> II. Historical Development <br /> The origins of grain painting can be traced back to the Neolithic Age, when primitive ancestors arranged grains into totemic symbols as ritual objects for worshiping heaven and earth and praying for harvests. During the Shang and Zhou dynasties, grain inlay techniques appeared in the decoration of ritual vessels, symbolizing power and faith. In the Tang and Song dynasties, with agricultural prosperity and the development of handicrafts, folk artisans began using grains to paste auspicious patterns for home decoration, marking the transition of grain painting from imperial courts to ordinary households. In the Ming and Qing dynasties, grain paintings were widely used in folk activities such as weddings and birthday banquets. Themes like &quot;abundant harvests&quot; and &quot;loong and phoenix bringing good luck&quot; not only expressed yearnings for a better life but also conveyed the philosophy of &quot;food as the paramount necessity for the people&quot;.<br /> III. Typical Representations<br /> Chinese grain painting has formed two major stylistic systems in northern and southern regions. Northern Style(Guantao, Hebei Province): Since the Ming and Qing dynasties, Guantao has had a tradition of using wheat straw and bean seeds to create decorative paintings. Influenced by paper-cutting and pyrography techniques, Guantao grain paintings excel in depicting figures and folk scenes, featuring full compositions and strong color contrasts. Masterpieces like Along the River During the Qingming Festival meticulously arrange thousands of grains to reproduce every detail. The local grain painting industry integrates agrarian culture with modern creativity, boosting rural income and rural revitalization, and becoming a model of cultural and tourism integration. Southern Style (Beibei, Chongqing Province): Originating in the Tang Dynasty and reaching its peak during the Qianlong period of the Qing Dynasty, Beibei grain paintings were once tributes from Chongqing Prefecture to the emperor, symbolizing &quot;abundant harvests and national peace&quot;. Incorporating Bayu regional culture, Beibei grain paintings highlight local uniqueness, emphasize cultural cores and poetic expressions, preserve more sacrificial and folk traditions, and convey the concept of harmonious coexistence between humanity and nature in agrarian civilization. Additionally, grain paintings in Shaanxi and Shanxi integrate elements of shadow puppetry and paper-cutting, exuding the boldness of the Loess Plateau.<br /> IV. Classification <br /> Grain paintings can be categorized by the color of grains used into Original Color Grain Painting, Colored Grain Painting, Composite Color Grain Painting, and Luminescent Grain Painting.<br /> Original Color Grain Painting (traditional style): Featuring natural colors, distinct layers, and strong three-dimensionality, it uses the unprocessed hues of grains, resulting in monotonous, dark, and less stable colors.<br /> Colored Grain Painting: Grains and seeds are specially dyed to ensure permanent colorfastness. Compared to original color paintings, they resolve the issue of dull colors, creating vivid and enchanting compositions that align with contemporary aesthetic preferences. <br /> Composite Color Grain Painting: Combining original and dyed grains (with original grains as the main component), it retains the natural color and layered texture of traditional grain paintings while addressing color monotony. The result is harmonious, vibrant compositions that integrate the advantages of both styles.<br /> Luminescent Grain Painting: An innovative breakthrough, this style incorporates fluorescent materials into grains through special techniques, enabling them to glow in low-light environments. The artwork preserves the natural texture of grains while adding mysterious light and shadow layers via fluorescent colors. Breaking free from reliance on natural light, it showcases the rustic beauty of grains during the day and emits a soft glow at night, creating a unique artistic tension that suits modern art scenes and nighttime cultural consumption.<br /> <br /> Terms and Expressions<br /> 高粱米 sorghum<br /> 薏米 seeds of job's tears<br /> 芸豆 kidney beans<br /> 黍 millet<br /> 稷 broomcorn millet<br /> 菽 beans <br /> 五谷 five grains<br /> 五谷丰登 abundant harvests<br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> 麦秸 wheat straw<br /> 烙画 pyrography<br /> 《清明上河图》 Along the River During the Qingming Festival <br /> 黄土高原 the Loess Plateau<br /> 合成色粮画 composite color grain painting<br /> 夜光粮画 luminescent grain painting<br /> 荧光材料 fluorescent materials<br /> <br /> Questions<br /> 1. What is the main difference between the creative materials of grain painting and traditional painting? <br /> 2. In which historical period did grain painting begin to transition from imperial courts to folk society? <br /> 3. What regions respectively represent the two major northern and southern stylistic systems of Chinese grain painting? <br /> 4. Compared with original color grain painting, what breakthroughs have colored grain paintings achieved in craftsmanship and visual effects? <br /> 5. How does the creative concept of composite color grain painting reflect the integration of tradition and innovation? <br /> 6. Through what techniques does luminescent grain painting achieve its artistic effects, and what modern communication scenarios is it suitable for?<br /> <br /> References<br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.<br /> <br /> <br /> '''粮画'''<br /> 一、简介<br /> 粮画，是以各类植物种子、谷物为创作材料，通过粘、贴、拼、雕等工艺，在底板上组合成的平面或立体艺术作品。不同于传统绘画依赖颜料，粮画的色彩取自自然：金黄的玉米粒、绛红的高粱米、银白的薏米、墨黑的芸豆，每一粒谷物都是天然的“调色盘”。创作者根据谷物的形状、色泽、纹理进行构思，将其排列成山水花鸟、人物故事，甚至是抽象图案，使原本用于饱腹的粮食升华为承载美学的艺术品。稻、黍、稷、麦、菽“五谷”的运用，暗含农耕文明对土地的敬畏，每幅作品都是民俗文化的可视化表达。粮画不仅是视觉艺术，更承载着深厚的文化内涵。<br /> 二、历史发展<br /> 粮画的雏形可追溯至新石器时代。原始先民将谷物排列成图腾符号，作为祭祀天地、祈求丰收的仪式载体。商周时期，谷物镶嵌工艺出现在礼器装饰中，成为权力与信仰的象征。唐宋年间，随着农业繁荣和手工业发展，民间开始用谷物拼贴吉祥纹样装点居室，粮画逐渐从庙堂走入寻常百姓家。明清时期，粮画在婚庆、寿宴等民俗活动中广泛应用，如以“五谷丰登”“龙凤呈祥”为主题的粮画，既表达对美好生活的向往，也传递“民以食为天”的生存哲学。<br /> 三、典型代表<br /> 中国粮画形成南北两大风格体系。北方以河北馆陶为代表，当地自明清起就有用麦秸、豆粒制作装饰画的传统。馆陶粮画吸收剪纸、烙画技法，擅长表现人物、民俗场景，作品构图饱满，色彩对比强烈，《清明上河图》等代表作将数千粒谷物排列得纤毫毕现。该地粮画产业融合农耕文化与现代创意，带动农民增收，推动乡村振兴，成为文旅融合的典范。南方粮画以重庆北碚为核心代表，北碚粮画艺术初兴于唐代，清代乾隆时期达到鼎盛，曾是重庆府敬献皇帝的贡品，承载着“五谷丰登、国泰民安”的吉祥寓意。北碚粮画常融合巴渝地域文化，凸显地域文化独特性，强调艺术的文化内核与诗意表达，保留更多祭祀与民俗传统，传递农耕文明中人与自然和谐共生的理念。此外，陕西、山西等地的粮画则融入皮影、剪纸元素，充满黄土高原的豪迈气息。<br /> 四、分类<br /> 根据所用粮食的色彩差异，可以将粮画分为原色粮画、彩色粮画、合成色粮画和夜光粮画等。<br /> 原色粮画，即传统粮画，其色彩自然，层次分明，具有较强的立体感。以天然五谷丰富多彩的本色为基调，不经过染色处理，运用其原色，颜色偏单调、灰暗，色彩欠稳定。<br /> 彩色粮画使用的粮食和种子经由特殊处理进行特制染色，可永不退色。与原色粮画相比，彩色粮画解决了颜色单调、灰暗的问题，使画面绚丽多彩、生动而富有神韵，更能适应当今社会的审美需求。<br /> 合成色粮画将原色和染色的粮食搭配使用，以原色粮食为主，染色粮食为辅，既能保持传统粮画色彩自然、层次分明的特点，又解决了原色粮画颜色单调、灰暗的问题。合成色粮画画面自然、协调，颜色绚丽而生动，兼具原色粮画和彩色粮画的优点。<br /> 夜光粮画在传统粮画基础上创新突破，通过特殊工艺将荧光材料融入粮食与种子，使其在暗光环境下呈现发光效果，画面既保留天然五谷的纹理质感，又借助荧光色彩增添神秘光影层次。夜光粮画突破了单一自然光限制，白天展现五谷本色的质朴美感，夜晚散发柔和荧光形成独特艺术张力，更契合现代艺术场景与夜间文化消费需求。<br /> <br /> 术语<br /> 高粱米 sorghum<br /> 薏米 seeds of job's tears<br /> 芸豆 kidney beans<br /> 黍 millet<br /> 稷 broomcorn millet<br /> 菽 beans <br /> 五谷 five grains<br /> 五谷丰登 abundant harvests<br /> 龙凤呈祥 loong and phoenix bringing good luck<br /> 麦秸 wheat straw<br /> 烙画 pyrography<br /> 《清明上河图》 Along the River During the Qingming Festival <br /> 黄土高原 the Loess Plateau<br /> 合成色粮画 composite color grain painting<br /> 夜光粮画 luminescent grain painting<br /> 荧光材料 fluorescent materials<br /> <br /> 问题<br /> 1.粮画的创作材料与传统绘画的主要区别是什么？<br /> 2.粮画在哪个历史时期开始从庙堂走向民间？<br /> 3.中国粮画的南北两大风格体系分别以何地为代表？<br /> 4.彩色粮画相较于原色粮画，在工艺和视觉效果上有哪些突破？<br /> 5.合成色粮画的创作理念如何体现对传统与创新的融合？<br /> 6.夜光粮画通过何种工艺实现艺术效果？其适应的现代传播场景有哪些？<br /> <br /> 参考文献<br /> 韩国瑞. 换个造型卖粮食 五谷作画绘人生【J】. 文化产业,2018,(13):1-2.<br /> 李盼盼. 粮画小镇【J】. 中国粮食经济,2022,(01):69-70.<br /> 燕赵晚报. (2021). 不到百元5斤杂粮制作《清明上河图》价值48万. 中国新闻网. https://www.chinanews.com.cn/sh/2016/04-07/7826014.shtml<br /> 于广宁. 馆陶粮画小镇 倾力绘制乡村振兴锦绣画卷【J】. 河北农业,2021,(03):14-17.<br /> 张付仁：粮画小镇故事多【J】. 共产党员(河北),2024,(08):44.<br /> 张海平,霍华康,李明远,赵海涛. “粮画小镇”建设 助推脱贫攻坚 邯郸市馆陶县寿东村产业脱贫典型【J】. 河北农业,2020,(10):72-75.</div>

Yang Jing https://bou.de/u/index.php?title=Chin_Lang_Cult_Fin_Exam_Spring_2025&diff=166560 2025-05-09T07:20:57Z

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

Yang Jing https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165530 2025-02-28T12:21:59Z

<p>Yang Jing: /* Homework for Session 2 */</p> <hr /> <div>--[[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]]!<br /> <br /> =Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *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.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> 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.<br /> <br /> ==Agreement on use of classroom time==<br /> 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)<br /> <br /> <br /> ----<br /> ==Homework for every session==<br /> 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.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Homework for Session 2==<br /> 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 &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> 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!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71 <br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246 (Tang Yan)<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301 <br /> <br /> 34. Confucianism: Confucian Culture 309<br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 <br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 <br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841（Miao Yunlong）<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900 <br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026 （Liao Zuoyun）<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272 <br /> <br /> 132. Silk and porcelain: Porcelain 1277<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> <br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> <br /> 143. Traditional Crafts: Cloisonne 1363<br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373 <br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456（Xiao Zixin）<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480(Liu Peini)<br /> <br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491<br /> <br /> 157. Traditional Cuisine: Hotpot 1501 <br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573 Lv Jiahao<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 <br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 <br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 <br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685 （Lu Wei）<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694 <br /> <br /> 180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）<br /> <br /> 181. Animals：Golden Monkey 1712（Xiao Yawen）<br /> <br /> 182. Chinese Economy: rich businessmen 1719 (Fu Sihui)<br /> <br /> 183. Opera: Chinese Local Operas 1727<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783<br /> <br /> 189. Clothing: Vintage Clothing 1790.(Chen Sisi)<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807 (Qiu Ping）<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825(Qi Zhiyang)<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845 （Ouyang Yihong)<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845（Geng Hongmei)<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845 （Chu Hanqi）<br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845 （Wang Xinyu）<br /> <br /> 201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 (Xiang Jianning)<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845 (Zhang Jiaxin)<br /> <br /> 204. Stand-up comedy 单口喜剧 1845（Huang Sinan）<br /> <br /> 205. Bride-price（彩礼） 1845 （Wu Jiating）<br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 <br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan)<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845 (Ye Sitong)<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845 （Dong Jiating）<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845 （Lu Jiahui）<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Shen Shuai)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 (Xiao Luyu)<br /> <br /> 230. Gayageum（伽倻琴） 1845 (Zhang Meiling)<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br /> <br /> 232. Sun Wukong（孙悟空） 1845 （Li Yuan2）<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845 (Cao Yuan)<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845 （Jin Yichen）<br /> <br /> 235. Bamboo Weaving (竹编） 1845 (Chen Anqi)<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845（Liu Chang）<br /> <br /> 239. Female Emperor---Wu Zetian 1845 (Song Xin)<br /> <br /> 240. Clay sculpture (泥塑） 1845 (Chen Lin)<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 (Gong Wei)<br /> <br /> 243. Chinese name（中国姓名文化） 1845 <br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845(Li Linyao) <br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845（Du Yuan）<br /> <br /> 247. Carved lacquer（雕漆） 1845 （Liu Qi）<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845 （Yu Jingfang）<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845（Chen Ting）<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845（Zhao Yashi）<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845（Yang Jing)<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845 (Zhou Tianyi)<br /> <br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) (Li Jiayi) 1845 <br /> <br /> 263. Shaolin Temple (少林寺) 1845 (Zuo Fang)<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845 (Cheng Sixiang)<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 （Zeng Zhi）<br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845 （Luo Jiaxin）<br /> 277. Mirror (镜子) 1845 (Cheng Sixiang) <br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845(Yan Xiang)<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845 (Guo Cili)<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845（Dai Yexun）<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845 （Zheng Jinlian）<br /> <br /> =Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> <br /> https://zoom.us/j/5739416744?pwd=c3h5L0NnY0xCWjlEMWhuNTBMbE92UT09#success<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> 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?<br /> <br /> Please remember that you have to indicate the 10 topics for Friday on the course website under &quot;Session 2&quot; 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.<br /> <br /> 27. Chinese Calligraphy (Tang Yan)<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）[[Media:Mahjong-Jiang_Ziqiang.pptx]]<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）[[Media:The Summer Palace - Li Mei.pptx]]<br /> <br /> 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]]<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Miao Yunlong)<br /> <br /> Tea Latte Art (Xiang Jianning)<br /> <br /> Topic 7<br /> <br /> Topic 8<br /> <br /> Topic 9<br /> <br /> Topic 10<br /> <br /> =Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br /> =Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br /> =Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br /> =Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br /> =Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br /> =Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br /> 242. Hunan Rice Noodles (湖南米粉） 1845 (Gong Wei)<br /> 167. History: Wang Shouren 1573 (Lv Jiahao)<br /> <br /> =HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br /> Wang Yuxin<br /> <br /> =Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br /> =Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br /> =Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br /> 端午节5月31日——6月2日<br /> =Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Yang Jing https://bou.de/u/index.php?title=Chinese_Language_and_Culture,_Spring_2025&diff=165293 2025-02-23T16:04:45Z

<p>Yang Jing: /* Teacher presentation: Introduction to Culture */</p> <hr /> <div>[[Media:Example.ogg]]Welcome to our course website [[Chinese Language and Culture, Spring 2025]]!<br /> <br /> =Session 1 Fri Feb 21 12:45-14:15 room 613 - Organizational issues=<br /> <br /> ==What we learn in this class==<br /> *We learn about Chinese culture from international, especially Western perspective. <br /> *We learn about cultural phenomena, traditional Chinese culture.<br /> *We learn English and Chinese terminology in the area of Chinese culture.<br /> *We learn to think critically about cultural traditions and to appreciate the benefits from cultural traditions.<br /> *We learn how to determine the location and role of Chinese culture within global culture.<br /> *We learn basics of theories and models of intercultural communication and comparison.<br /> *We learn the appreciate and respect the diversity of multipolar cultures and of integration.<br /> *We become aware of the dangers of cultural discrimination (colonialism, religious missions, imperialism etc.).<br /> <br /> ==Students' contribution==<br /> *Every student needs to prepare the 1-2 textbook texts of the respective chapters in the textbook ahead each week of class. <br /> *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.<br /> *For the final exam, you write another chapter of the textbook in both Chinese and English, with &quot;Terms and Expressions&quot;, References, Questions and Answers, Statement regarding AI<br /> <br /> ==Textbook==<br /> 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.<br /> <br /> ==Agreement on use of classroom time==<br /> 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)<br /> <br /> ==Homework for every session==<br /> 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.<br /> <br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:01_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> [[File:Example.jpg]]==Homework for Session 2==<br /> 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 &quot;Wang Jianguo&quot;, type in some info about yourself and submit the form with accepting the terms and conditions as well as typing in the captcha password &quot;wikicaptcha&quot;. More detailed instructions for registration you find in the powerpoint presentation which you can download from here (&quot;Teacher presentation&quot;). <br /> <br /> 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!<br /> <br /> 1. Geographic Nature as a Basis for Cultural Development 17<br /> <br /> 2. Aesthetic ideals and social customs: Chinese Marriage Customs 22<br /> <br /> 3. Aesthetic ideals and social customs: Habits, Ways of Contacting 31<br /> <br /> 4. Aesthetic ideals and social customs: Marriage-Accompanying Songs in Hunan 40<br /> <br /> 5. Aesthetic ideals and social customs: Crying Marriage of Tujia 49<br /> <br /> 6. Aesthetic ideals and social customs: The Four Most Handsome Men in Ancient China 63<br /> <br /> 7. Animals: Panda 71<br /> <br /> 8. Architecture 78<br /> <br /> 9. Architecture: The Forbidden City 89<br /> <br /> 10. Architecture: Four Famous Bridges 102<br /> <br /> 11. Architecture: Four Great Pavilions 113<br /> <br /> 12. Architecture: Shengjing Imperial Palace 124<br /> <br /> 13. Architecture: Three Great Towers in China 131<br /> <br /> 14. Architecture: Fengshui in Chinese Architecture 145 <br /> <br /> 15. Army and weapons: Chinese Ancient Weapons 154<br /> <br /> 16. Army and weapons: Terracotta Army 163<br /> <br /> 17. Astrology: Chinese Astrology 170<br /> <br /> 18. Astrology: Calendar, The 24 Solar Terms 178<br /> <br /> 19. Astrology: Twelve Animals of the Chinese Zodiac 188<br /> <br /> 20. Beverages: Milk Tea 197<br /> <br /> 21. Beverages: Tea 203<br /> <br /> 22. Beverages: The Liquor Culture of Ancient China 209<br /> <br /> 23. Body movement performance: Chinese Lion Dancing 218<br /> <br /> 24. Body movement performance: Stilts 223<br /> <br /> 25. Body movement performance: Traditional Chinese Dance 230<br /> <br /> 26. Chinese Writing: Ancient Writing and Painting Tool, Writing Brush 236<br /> <br /> 27. Chinese Writing: Calligraphy 246<br /> <br /> 28. Chinese Writing: The Evolution of Calligraphy 252<br /> <br /> 29. Chinese Writing: Chinese Characters 262<br /> <br /> 30. Chinese Writing: Chinese Characters and Scripts 276<br /> <br /> 31. Clothing: Chinese Clothing 283<br /> <br /> 32. Clothing: Batik (Lanran) 291<br /> <br /> 33. Clothing: Cheongsam 301<br /> <br /> 34. Confucianism: Confucian Culture 309<br /> <br /> 35. Confucianism: Chinese Traditional Culture-Five Constant Virtues 324<br /> <br /> 36. Confucianism: Classical Philosophy - Confucius and Confucianism 332<br /> <br /> 37. Confucianism: Classical Philosophy - Reading The Analects 339 (Duan Binyao)<br /> <br /> 38. Education: Ancient Chinese Education 350<br /> <br /> 39. Education: Historical Figures, The Four Talented Women of Ancient China 361<br /> <br /> 40. Education: Modern Chinese Education System 371<br /> <br /> 41. Education: The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties 386<br /> <br /> 42. Education: Yuelu Academy (One of the Four Most Prestigious Academies) 395<br /> <br /> 43. Facial Make-up 406<br /> <br /> 44. Facial Make-up: Cosmetics, Traditional Chinese Make-Up 413<br /> <br /> 45. Facial Make-up: Face Changing in Sichuan Opera 431<br /> <br /> 46. Fine Arts: Painting 440<br /> <br /> 47. Fine Arts: Bada Shanren and Qi Baishi 445<br /> <br /> 48. Fine Arts: Painting Riverside Scene at Tomb Sweeping Day 452<br /> <br /> 49. Fine Arts: Seal-cutting 459<br /> <br /> 50. Games: Go 围棋 462<br /> <br /> 51. Games: Kite Flying 468<br /> <br /> 52. Games: Mahjong: An Ancient Chinese card play 476（Jiang Ziqiang）<br /> <br /> 53. Garden Culture: Gardens 505<br /> <br /> 54. Garden Culture: Bonsai (Penjing) 511<br /> <br /> 55. Garden Culture: The Summer Palace 519（Li Mei）<br /> <br /> 56. Garden Culture: Qingming Riverside Landscspe Garden 526<br /> <br /> 57. Gender: Wu Zetian: The Only Female Emperor of Imperial China 535<br /> <br /> 58. History: Carl and Cixi 548<br /> <br /> 59. Interieur: The Folding Screen 552<br /> <br /> 60. Landscapes and Tourism: Four Buddhist Shrines 561<br /> <br /> 61. Landscapes and Tourism: Four State-Level Cultural Relics 573<br /> <br /> 62. Landscapes and Tourism: Landscape, Five Famous Mountains 585<br /> <br /> 63. Landscapes and Tourism: Mogao Grottoes 593<br /> <br /> 64. Landscapes and Tourism: The Culture of Mount Tai 606<br /> <br /> 65. Landscapes and Tourism: Canal Culture：The Grand Canal（The Peking-Hangzhou Grand Canal） 621<br /> <br /> 66. Landscapes and Tourism: The Ancient Tea Horse Road 635<br /> <br /> 67. Landscapes and Tourism: Tourism, Nanking-An Ancient Capital of Six Dynasties 642<br /> <br /> 68. Language: Chinese Language 649<br /> <br /> 69. Language: Chinese Dialects 660<br /> <br /> 70. Language: Chinese Folk Argot 669<br /> <br /> 71. Literature: Ancient literature - Chinese Classical Fairy Tales 681<br /> <br /> 72. Literature: Ancient literature - Chinese Mythology 688<br /> <br /> 73. Literature: Ancient literature - Classical Literature 699<br /> <br /> 74. Literature: Ancient Literature - Four satirical novels in ancient China 706<br /> <br /> 75. Literature: Ancient literature: Four Folk Stories of Ancient China 715<br /> <br /> 76. Literature: Ancient Literature - Take Su Shi as an example. Relegation Literature in Ancient China 725 (Duan Binyao)<br /> <br /> 77. Literature: Ancient Literature: The Classic of Mountains and Seas 748<br /> <br /> 78. Literature: Ancient literature: Yuefu 765<br /> <br /> 79. Literature: Premodern literature - China's Four Great Classical Novels 773 (Duan Binyao)<br /> <br /> 80. Literature: Premodern literature - Li Bai's “The River-Merchant's Wife: A Letter” and its translations 780<br /> <br /> 81. Literature: Premodern literature: Strange Stories from a Chinese Studio 786<br /> <br /> 82. Literature: Premodern literature: Tang-Song 794<br /> <br /> 83. Literature: Tang and Song - Classical Prose Movement of late Tang Dynasty and Song Dynasty 823<br /> <br /> 84. Literature: Modern Literature 832<br /> <br /> 85. Literature: Modern Literature: Qian Zhongshu (Ch'ien Chung-shu) 841<br /> <br /> 86. Literature: Modern and Contemporary Literature: Literature, Science Fiction, and Fantasy 848<br /> <br /> 87. Literature: Contemporary Literature 859<br /> <br /> 88. Martial Arts: Huo Yuanjia 865<br /> <br /> 89. Martial Arts: Qigong 868<br /> <br /> 90. Martial Arts: Taiji (Tai Chi) Shadow Boxing 873<br /> <br /> 91. Martial Arts: Wushu 885<br /> <br /> 92. Martial Arts: Frolics of the Five Animals (Wuqinxi) 890<br /> <br /> 93. Medicine: Traditional Chinese Medicine (TCM) 900<br /> <br /> 94. Medicine: TCM - Acupuncture and Moxibustion 907<br /> <br /> 95. Medicine: TCM - Diagnosis and Pharmacology 912<br /> <br /> 96. Medicine: TCM - The Development of Chinese Medicine 917<br /> <br /> 97. Medicine: TCM – The Chinese Medical Sage Zhang Zhongjing 924<br /> <br /> 98. Minority cultures: Lisu People and Daogan Festival of Lisu Ethnic Minority 934<br /> <br /> 99. Minority cultures: The Ethnic Minorities’ Costumes 941<br /> <br /> 100. Money culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) 952<br /> <br /> 101. Money culture: The tradition of Red Envelope and Lucky Money 962<br /> <br /> 102. Music and instruments: Guzheng 975<br /> <br /> 103. Music and instruments: Pipa 986<br /> <br /> 104. Mythology: Gods and Immortals 996<br /> <br /> 105. Mythology: Huli-jing 1005<br /> <br /> 106. National Symbols: National Anthem 1018<br /> <br /> 107. National Symbols: National Flag 1026<br /> <br /> 108. Opera: Peking Opera 1035<br /> <br /> 109. Opera: Peking Opera Acrobatics 1043<br /> <br /> 110. Opera: Peking Opera Actor Mei Lanfang 1050<br /> <br /> 111. Opera: Tea-picking Opera 1055<br /> <br /> 112. Opera: Hunan Flower-drum Opera (Huagu Opera) 1064<br /> <br /> 113. Philosophical Schools: Four Main Philosophical Schools 1076<br /> <br /> 114. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy – Daoism 1087<br /> <br /> 115. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading Tao Te Ching 1093<br /> <br /> 116. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Sutra of Hui-neng 1099<br /> <br /> 117. Philosophical Schools (Daoism, Buddhism, Legalism): Classical Philosophy - Reading The Importance of Living 1106<br /> <br /> 118. Philosophical Schools (Daoism, Buddhism, Legalism): Legalism 1119<br /> <br /> 119. Philosophy: Chinese Traditional Cultivation Culture 1129<br /> <br /> 120. Religion: Traditional Chinese Funeral Culture 1141<br /> <br /> 121. Religion: Buddhism 1155<br /> <br /> 122. Religion: Daoism 1170<br /> <br /> 123. Religion: Christianity 1175<br /> <br /> 124. Religion: Islam 1181<br /> <br /> 125. Science and Technology: Ancient Science and Technology 1185<br /> <br /> 126. Science and Technology: China's Four New Inventions 1191<br /> <br /> 127. Science and Technology: Compass 1217<br /> <br /> 128. Science and Technology: TikTok (Douyin) 1226<br /> <br /> 129. Science and Technology: Three Giant Home Appliance Enterprises In China 1235<br /> <br /> 130. Science and Technology: Four Domestic Mobile Phone Companies 1257<br /> <br /> 131. Silk and porcelain: Silk 1272<br /> <br /> 132. Silk and porcelain: Porcelain 1277 （Fei Xinyu)<br /> <br /> 133. Silk and porcelain: Celadon and Celadon Song 《青花瓷》歌词 1283<br /> <br /> 134. Silk Road - by land and by sea: Zhang Qian and the Silk Road 1291<br /> <br /> 135. Silk Road - by land and by sea: Zheng He and the Maritime Silk Road 1296<br /> <br /> 136. Silk Road - by land and by sea: Zheng He's Voyages 1300<br /> <br /> 137. Social: The Long-life Lock 1308<br /> <br /> 138. Social: Round Table Culture 1317 (Li Jiayi)<br /> <br /> 139. Stage entertainment: Crosstalk 相声 1325<br /> 140. Stage entertainment: Shadow Play 1332<br /> <br /> 141. Traditional Crafts: Carving 1340<br /> <br /> 142. Traditional Crafts: Chinese Jade Culture 1348<br /> 143. Traditional Crafts: Cloisonne 1363<br /> <br /> 144. Traditional Crafts: Embroidery 1369<br /> <br /> 145. Traditional Crafts: Shu Embroidery (Sichuan Embroidery) 1373<br /> <br /> 146. Traditional Crafts: Xiang Embroidery 1386<br /> <br /> 147. Traditional Crafts: Folk Art - Chinese Paper-cutting 1400<br /> <br /> 148. Traditional Crafts: Handcraft - Chinese Knots 1409<br /> <br /> 149. Traditional Crafts: Lacquerware 1418<br /> <br /> 150. Traditional Crafts: The Kingfisher Craft点翠 1423（Chen Lin）<br /> <br /> 151. Traditional Cuisine: Chinese Dining Etiquette 1436<br /> <br /> 152. Traditional Cuisine: Chopsticks 1450 (Li Jiayi)<br /> <br /> 153. Traditional Cuisine: Eight Major Cuisines of China 1456(Liu peini)<br /> <br /> 154. Traditional Cuisine: Four Distinct Regional Cuisines 1473<br /> <br /> 155. Traditional Cuisine: Breakfast Culture of Wuhan 1480<br /> <br /> 156. Traditional Cuisine: Tanghulu, Sugar-coated Haws on a Stick 1491<br /> 157. Traditional Cuisine: Hotpot 1501<br /> <br /> 158. Traditional Cuisine: The Art of Chinese Cooking 1508<br /> <br /> 159. Traditional Cuisine: Two Famous Dishes 1514<br /> <br /> 160. Traditional Festivals 1518……<br /> <br /> 161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525<br /> <br /> 162. Traditional Festivals: Spring Festival Couplets 1538<br /> <br /> 163. Westernization: The Eastward Spread of Western Learning 1544<br /> <br /> 164. Westernization: The Westernization Movement 1550<br /> <br /> 165. Worship: Chinese Incense Culture 1558<br /> <br /> 166. Economy: Chinese Currency Changes 1569<br /> <br /> 167. History: Wang Shouren 1573<br /> <br /> 168. Martial Arts: Chinese Swordsman Spirit 1582<br /> <br /> 169. Cuisine: Luosifen 1593 （Zeng Zhi）<br /> <br /> 170. Fine Arts: Chinese Paper Cutting 1601 （Luo Jiaxin）<br /> <br /> 171. Science and Technology: Taobao(淘宝) 1611<br /> <br /> 172. Traditional Craft: Bronze 1623<br /> <br /> 173. Entertainment: Deyunshe 德云社 1631<br /> <br /> 174. Traditional Cuisine: Jiaozi 1644<br /> <br /> 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China 1655<br /> <br /> 176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664 (Tao Yao)<br /> <br /> 177. stage entertainment:Yuan drama 1676<br /> <br /> 178. Music and instruments: Erhu 1685<br /> <br /> 179. Traditional and Modern Views on Marriage and Love 1694<br /> <br /> 180. Traditional Cuisine: Tangyuan 1701（Liu Shutian）<br /> <br /> 181. Animals：Golden Monkey 1712<br /> <br /> 182. Chinese Economy: rich businessmen 1719<br /> <br /> 183. Opera: Chinese Local Operas 1727<br /> <br /> 184. The Chinese tradition of ancestor worship 1740<br /> <br /> 185. Opera: Huangmei opera 1752<br /> <br /> 186. The “reference” of Chinese Music 1759<br /> <br /> 187. Chinese Folk Art:Lion Dance 1767（Gao Xiaoqing）<br /> <br /> 188. Science and Technology: Mobile Games（手游） 1783<br /> <br /> 189. Clothing: Vintage Clothing 1790<br /> <br /> 190. Fine arts:Kunqu Opera 1798<br /> <br /> 191. Aesthetic ideals and social customs: The Culture of Flowers 1807<br /> <br /> 192. National Belief: the Chinese Dream 1818<br /> <br /> 193. Science and Technology: Buytogether（PDD) 1825<br /> <br /> 194. Aesthetic ideals and social customs：Marriage and Burial Customs of Tujia People 1845<br /> <br /> 195. Sports: Cuju (蹴鞠) 1845<br /> <br /> 196. Science and Technology: The culture of Chinese Electric Vehicles 中国电动汽车 1845<br /> <br /> 197. Chinese tradition culture: The culture of Ronghua—Velvet Flowers 绒花 1845<br /> <br /> 198. Stage entertainment: Northeast Errenzhuan (二人转) 1845<br /> <br /> 199. Traditional Crafts: Dough Sculpture 面塑 1845<br /> <br /> 200. Nanchang Relic Museum for Haihun Principality of Han Dynasty 1845<br /> <br /> 201. The culture of Grass cloth 夏布 1845 (Huang Qiaoqiao)<br /> <br /> 202. The Legend of Zhen Huan 《甄嬛传》 1845 （Xing Xueqing）<br /> <br /> 203. Chinese horror movies 中式恐怖片 1845<br /> <br /> 204. Stand-up comedy 单口喜剧 1845<br /> <br /> 205. Bride-price（彩礼） 1845<br /> <br /> 206. Chinese science fiction movies 中国科幻片 1845<br /> <br /> 207. Shandong cuisine鲁菜 1845<br /> <br /> 208. Chinese traditional ornament: Buyao （步摇） 1845 <br /> <br /> 209. Tofu meatball with pig blood (猪血丸子) 1845 （Li Ting2）<br /> <br /> 210. Sunzi’s Art of War: Source for All Books on War (孙子兵法) 1845<br /> <br /> 211. The Temple of Heaven：Reverence with Awe and Gratitude（天坛） 1845<br /> <br /> 212. Education：training Schools （教育：补习班） 1845<br /> <br /> 213. Chinese Dreamcore (中式梦核) 1845 (Zhang Zixi)<br /> <br /> 214. Lu Ban, China’s inventor（中国发明家——鲁班） 1845<br /> <br /> 215. Live Streaming E-commerce（直播电商） 1845 (Tao Yao)<br /> <br /> 216. The Story of Ming Lan（知否知否，应是绿肥红瘦） 1845<br /> <br /> 217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 (Tao Yao)<br /> <br /> 218. Guangdong Herbal tea（广东凉茶） 1845(Gao Xiaoqing)<br /> <br /> 219. Chinese traditional art form：Seal carving（篆刻） 1845(Huang Qiaoqiao)<br /> <br /> 220. Rice cake (年糕) 1845<br /> <br /> 221. Zhongyuan festival 1845 （Ou Huang）<br /> <br /> 222. Dulong: Facial tattoo (独龙族：纹面) 1845<br /> <br /> 223. The Return of the Pearl Princess（还珠格格） 1845<br /> <br /> 224. Chinese Food：Jiangxi Cuisine（赣菜） 1845 (Liao Dan)<br /> <br /> 225. &quot;Cun Chao&quot;: China's village football league（“村超”：中国乡村足球联赛） 1845 (Chen Zhen)<br /> <br /> 226. Landscapes and Tourism: Junshan Island (君山岛) 1845<br /> <br /> 227. Chinese Bossy Fictions &amp; Micro-drama（中国式霸总小说&amp;短剧） 1845 (He Yunfeng)<br /> <br /> 228. Chinese Traditional Medicine (中医药）——— Mortise and Tenon Joint（榫卯结构） 1845<br /> <br /> 229. Jingdezhen Porcelain 1845 <br /> <br /> 230. Gayageum（伽倻琴） 1845<br /> <br /> 231. The plaque and couplet in Chinese garden（园林匾额对联） 1845<br /> <br /> 232. Sun Wukong（孙悟空） 1845<br /> <br /> 233. Traditional Chinese Pigments（中国传统颜料） 1845<br /> <br /> 234. Dragon Lantern Dance（舞龙灯） 1845<br /> <br /> 235. Bamboo Weaving (竹编） 1845<br /> <br /> 236. Landscapes and Tourism: Harbin Ice and Snow World (冰雪大世界) 1845 (Xu Xinwen)<br /> <br /> 237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845<br /> <br /> 238. Three Famous Chinese Mountains(中国三山) 1845<br /> <br /> 239. Female Emperor---Wu Zetian 1845<br /> <br /> 240. Clay sculpture (泥塑） 1845<br /> <br /> 241. Abacus (中国珠算） 1845<br /> <br /> 242. Hunan Rice Noodles（湖南米粉） 1845 （Ou Huang）<br /> <br /> 243. Chinese name（中国姓名文化） 1845 (Yang Jing)<br /> <br /> 244. Chinese popular viral memes (中国网络社交媒体“热梗”） 1845(Xiao Yikang)<br /> <br /> 245. Douzhi (豆汁) 1845 (Chen Zhen)<br /> <br /> 246. New Year Wood-block Paintings (木版年画） 1845<br /> <br /> 247. Carved lacquer（雕漆） 1845<br /> <br /> 248. Jing Gang Mountain (井冈山） 1845<br /> <br /> 249. Intangible Cultural Heritage: Tongguan Kiln （铜官窑） 1845<br /> <br /> 250. Language: Hakka Dialect（客家话） 1845<br /> <br /> 251. Rice noodle roll（肠粉） 1845 ( Li Mingfeng )<br /> <br /> 252. Traditional Cuisine: Northeastern Chinese Cuisine(东北菜） 1845（Liu Shutian）<br /> <br /> 253. Yuelu Mountain (岳麓山) 1845<br /> <br /> 254. Traditional Crafts：Tie-Dye（扎染） 1845（Zhang Qi）<br /> <br /> 255. Chinese-style sun protection (中式防晒） 1845<br /> <br /> 256. Danmu (弹幕） 1845 (Zhou Le)<br /> <br /> 257. Yangshao Culture（仰韶文化） 1845<br /> <br /> 258. Indigo Dyeing (蓝染) 1845<br /> <br /> 259. Female Writers: Zhang Ailing, Chen Ping, Lin Yihan and Li Bihua 1845<br /> <br /> 260. Wedding dress in the Song Dynasty (宋代婚服) 1845 (Liu Chao) <br /> <br /> 261. The cultural idea oft he great unification in ancient China (中国古代的大一统文化思想) 1845<br /> <br /> 262. The Four Pillars of Destiny (八字) 1845 （Ou Huang）<br /> <br /> 263. Shaolin Temple (少林寺) 1845<br /> <br /> 264. Single bamboo drifting（独竹漂） 1845<br /> <br /> 265. Cuisine: Changde spicy salted duck 酱板鸭传说的由来 1845 （Xing Xueqing）<br /> <br /> 266. Hui Culture (徽文化) 1845(Liu Jianan)<br /> <br /> 267. Ma Zu Culture (妈祖文化) 1845 (Yan Jidong)<br /> <br /> 268. Table Manners 1845（Luo Yan）<br /> <br /> 269. Music of the Mongol nationality (蒙古族音乐) 1845<br /> <br /> 270. The Yingge Dance（英歌舞） 1845 （Jiang Xinyue)<br /> <br /> 271. Palace Lantern（宫灯） 1845<br /> <br /> 272. Chinese Term of Endearment（中国亲昵称谓） 1845<br /> <br /> 273. Changsha Stinky Tofu（长沙臭豆腐) 1845(Luo Sicheng)<br /> <br /> 274. God of Wealth(财神) 1845 （Zeng Zhi）<br /> <br /> 275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）<br /> <br /> 276. Nail art（美甲） 1845<br /> <br /> 277. Mirror (镜子) 1845<br /> <br /> 278. The Beef Board Noodle (牛肉板面) 1845<br /> <br /> 279. Huo Qubing (霍去病） 1845 （Luo Jingyan）<br /> <br /> 280. Chinese Courtyard Houses（中国四合院） 1845<br /> <br /> 281. Music and instruments: Yangqin（扬琴） 1845<br /> <br /> 282. Black Myth: Wukong（黑神话 悟空） 1845 (Chen Zhen)<br /> <br /> 283. Guangdong Morning Tea Culture （广东早茶文化） 1845<br /> <br /> =Session 02 Fri Feb 28 12:45-14:15 room 613 - Student presentations=<br /> ==Teacher presentation: Introduction to Culture==<br /> [[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]<br /> <br /> ==Topics for today==<br /> Please copy and paste your presentation topic, your name here and add your powerpoint file (size limit 10 MB)<br /> <br /> =Session 03 Fri Mar 07 12:45-14:15 room 613 - Student presentations=<br /> =Session 04 Fri Mar 14 12:45-14:15 room 613 - Student presentations=<br /> =Session 05 Fri Mar 21 12:45-14:15 room 613 - Student presentations=<br /> =Session 06 Fri Mar 28 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 07 Fri Apr 04 12:45-14:15 room 613 - Student presentations=<br /> 清明节4月4日——4月6日<br /> =Session 08 Fri Apr 11 12:45-14:15 room 613 - Student presentations=<br /> =Session 09 Fri Apr 18 12:45-14:15 room 613 - Student presentations=<br /> =Session 10 Fri Apr 25 12:45-14:15 room 613 - Student presentations=<br /> =HOLIDAY Session 11 Fri May 02 12:45-14:15 room 613 - Student presentations=<br /> 劳动节5月1日——5月5日<br /> =Session 12 Fri May 09 12:45-14:15 room 613 - Student presentations=<br /> =Session 13 Fri May 16 12:45-14:15 room 613 - Student presentations=<br /> =Session 14 Fri May 23 12:45-14:15 room 613 - Student presentations=<br /> =Session 15 Fri May 30 12:45-14:15 room 613 - Student presentations=<br /> 端午节5月31日——6月2日<br /> =Session 16 Fri Jun 28 12:45-14:15 room 613 - Final Exam=<br /> Please write your paper here: [[Chin_Lang_Cult_Fin_Exam_Spring_2025]]</div>

Yang Jing