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20210602 culture

2021-06-15T13:36:23Z

Yi Mingxia: /* Yāo Yáng 么阳 */

=Bào Qìnwén 鲍沁雯=
所以宁荣二府之人，都得人手。因这媳妇妖调异常，
轻浮无比，众人都呼他作“多姑娘儿”。如今贾琏在外熬煎，往日也见过这媳
妇，垂涎久了，只是内惧娇妻，外惧娈童，不曾下得手。那多姑娘儿也有意于贾
琏，只恨没空；今闻贾琏挪在外书房来，他便没事也要走三四趟去招惹。贾琏似
饥鼠一般，少不得和心腹的小厮们计议，多以金帛相许，焉有不允之理，况都和
这媳妇是旧友，一说便成。

是夜，多浑虫醉倒在炕，二鼓人定，贾琏便溜进来相会。一见面，早已神魂
失据，也不及情谈款叙，便宽衣动作起来。谁知这媳妇有天生的奇趣，一经男子
挨身，便觉遍体筋骨瘫软，使男子如卧绵上；更兼淫态浪言，压倒娼妓。贾琏此
时恨不得化在他身上。那媳妇故作浪语，在下说道：“你们女儿出花儿，供着娘
娘，你也该忌两日，倒为我腌臜了身子，快离了我这里罢。”贾琏一面大动，一面
喘吁吁答道：“你就是‘娘娘’！那里还管什么‘娘娘’！”那媳妇越浪起来，贾琏
不禁丑态毕露。一时事毕，两个又盟山誓海，难舍难分。自此后，遂成相契。

一日，大姐毒尽癍回，十二日后送了“娘娘”，合家祭天祀祖宗，还愿焚香，
庆贺放赏已毕，贾琏仍复搬进卧室。见了凤姐，正是俗语云“新婚不如远别”，
更有无限恩爱，自不必细说。
So most of the men in the Ning and Rong Mansions had had their fling with her. And because she was such a remarkably good-looking wanton, everyone called her "the Mattress"(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye "the Mattress" avidly but had so far taken no steps to get her for fear of his wife at home and his fancy boys outside. Miss Multi for her part had been hankering after Romance Merchant too, waiting eagerly for her chance. As soon as she heard that he had moved to the study she kept strolling past to flaunt her charms, and Romance Merchant rose to the bait like a famished rat. He consulted his trusted pages, who agreed to arrange a secret assignation for him, for not only did he promise them rich rewards - they were all on intimate terms themselves with Miss Multi. So the matter was settled at once. At the second watch that night, when the household had retired and Droopy Duo lay on his kang in a drunken stupor, ha Lian slipped into her room. The mere sight of her threw him into such a frenzy that with no preliminary professions of love he flung off his clothes and set to work. Now this woman was so curiously constituted that the touch of a man seemed to melt her very bones, so that he felt as if bedded in cotton-wool, while in her wanton tricks and amorous cries she outdid any prostitute. No man but was driven to utter frenzy by her. Romance Merchant only wished he could melt into her body! To inflame him further, the woman under him teased, "Your daughter has smallpox and they’re sacrificing in your home to the goddess. You ought to lead a clean life for a couple of days, not dirty yourself for me. Hurry up and get out of here.” "You’re my goddess," he panted, going all out. What do I care for any other goddess?" The more wanton the woman, the more debauched Romance Merchant revealed himself. At the end of this bout they vowed to be true to each other and could hardly bear to part. From that day they became sworn lovers. But Sister Ingenious’ illness spent its course, her pustules gradually healed. After twelve days they "saw off" the goddess and the whole family sacrificed to Heaven and their ancestors, made offerings, burnt incense, exchanged congratulations and distributed largesse. When these ceremonies were at an end, Romance Merchant returned to his old quarters and Splendid Phoenix King. As the proverb says, Reunion after long separation is better than a wedding night." We need not dwell on the transports of their love.--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 12:46, 4 June 2021 (UTC)

So most of the men in the Ning and Rong Mansions had had their fling with her. And because she was such a remarkably good-looking wanton, everyone called her "the Mattress"(Miss Multi), Romance Merchant was now inflamed by his banishment from his own bedroom. He used to eye "the Mattress" avidly but had so far taken no steps to get her for fear of his wife at home and his fancy boys outside. Miss Multi for her part had been hankering after Romance Merchant too, waiting eagerly for her chance. As soon as she heard that he had moved to the study she kept strolling past to flaunt her charms, and Romance Merchant rose to the bait like a famished rat. He consulted his trusted pages, who agreed to arrange a secret assignation for him, for not only did he promise them rich rewards - they were all on intimate terms themselves with Miss Multi. So the matter was settled at once. At the second watch that night, when the household had retired and Droopy much lay on his kang in a drunken stupor, Romance Merchant slipped into her room. The mere sight of her threw him into such a frenzy that with no preliminary professions of love he flung off his clothes and set to work. Now this woman was so curiously constituted that the touch of a man seemed to melt her very bones, so that he felt as if bedded in cotton-wool, while in her wanton tricks and amorous cries she outdid any prostitute. No man but was driven to utter frenzy by her. Romance Merchant only wished he could melt into her body! To inflame him further, the woman under him teased, "Your daughter has smallpox and they’re sacrificing in your home to the goddess. You ought to lead a clean life for a couple of days, not dirty yourself for me. Hurry up and get out of here.” "You’re my goddess," he panted, going all out. What do I care for any other goddess?" The more wanton the woman, the more debauched Romance Merchant revealed himself. At the end of this bout they vowed to be true to each other and could hardly bear to part. From that day they became sworn lovers. But Sister Ingenious’ illness spent its course, her pustules gradually healed. After twelve days they "saw off" the goddess and the whole family sacrificed to Heaven and their ancestors, made offerings, burnt incense, exchanged congratulations and distributed largesse. When these ceremonies were at an end, Romance Merchant returned to his old quarters and Splendid Phoenix King. As the proverb says, Reunion after long separation is better than a wedding night." We need not dwell on the transports of their love.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 05:41, 7 June 2021 (UTC)

=Chén Kērǔ 陈柯汝=
次日早起，凤姐往上房里去后，平儿收拾外边拿进来的衣服铺盖，不承望
枕套中抖出一绺青丝来，平儿会意，忙藏在袖内，便走至这边房内，拿出头发来，
向贾琏笑道：“这是什么？”贾琏一见，连忙抢上来要夺，平儿便跑，被贾琏一把揪
住，按在炕上，从手中来夺。平儿笑道：“你是没良心的，我好意瞒着他来问你，
你倒赌狠！等他回来我告诉了，看你怎么样。”贾琏听说，忙陪笑央求道：“好人，
你赏我罢，我再不敢赌狠了。”

一语未了，只听凤姐声音进来，贾琏听见松了不是，抢又不是，只叫：“好
人，别叫他知道！”平儿才起身，凤姐已走进来，命平儿：“快开匣子，替太太找样
子。”平儿忙答应了，找时，凤姐见了贾琏，忽然想起来，便问平儿：“前日拿出去
的东西都收进来没有？”平儿道：“收进来了。”凤姐道：“可少什么不少？”平儿
道：“细细查了，并没少一件儿。”凤姐又道：“可多什么没有？”平儿笑道：“不少
就罢了，怎么还有得多出来？”凤姐又笑道：“这半个月，难保干净，或者有相厚的
丢下的东西戒指、汗巾等物，亦未可定。”一席话，说的贾琏脸都黄了，在凤姐身
背后，只望着平儿杀鸡抹脖使眼色，求他遮盖。

The next morning, Phoenix Sister went up early and left for the principal room. Then, Patience took the clothing outside in and prepared for the bed. To her surprise, a wisp of hair fell down from the pillow case. She understood instantly and hid it under her sleeves. Then she entered the room where Romance Merchant was and took out that hair. She smiled to him: “What’s this?” As soon as he saw it, he was about to rob it; however, Patience ran away, she was caught and pressed on the kang by him, and he grabbed the hair in her hand too. Patience smiled: “You are a heartless creature! I asked you without letting her know out of kindness, but you pull a stunt like that. What will happen to you if I tell her?” Romance Merchant entreated her, smiling: “Fair girl, please do me a favour, I won’t make an act of sheer bravado.”
Before he could finish, Phoenix’s voice came in, which put him into a dilemma whether to loose it or to clutch it. He cried: “Fair girl, do not let her know!” Sister Phoenix had entered when Patience rose up. Sister Phoenix ordered Patience: “Get the patterns out of that box for the mistress, quick.” Patience promised quickly. When they were finding the patterns, Sister Phoenix saw Romance Merchant and she suddenly remembered something and asked Patience: “Have you taken in all the things that were taken out?” “ Yes, I brought them all in.” “ Anything lost?” “I checked carefully and nothing disappeared.” “Anything new appeared?” Patience smiled: “It is normal to check whether anything was lost, how could it be that anything new appears?” Sister Phoenix smiled: “For the past half month, it was difficult to make sure that nothing new appeared. Nobody can say sure that whether his lover outside left a ring, a scarf and so on.” These words paled his face; he begged Patient to hide this for him behind Sister Phoenix.--[[User:Chen Keru|Chen Keru]] ([[User talk:Chen Keru|talk]]) 05:27, 7 June 2021 (UTC)

The next morning, Sister Phoenix went up early and left for the principal room. Then, Patience took the clothing outside in and prepared for the bed. To her surprise, a wisp of hair fell down from the pillow case. She understood instantly and hid it under her sleeves. Then she entered the room where Romance Merchant was in and took out that hair. She smiled to him: "What's this?" As soon as he saw it, he was about to rob it; however, Patience ran away, who was caught and pressed at the kang by him, and the hair in her hand was grabbed as well. Patience smiled: “You are a heartless creature! Out of kindness, I came to ask you without letting her know, but you pull a stunt like that. What will happen to you if I tell her?” Romance Merchant entreated her, smiling: "Fair girl, please do me a favour, I won't make an act of sheer bravado."

Before he could finish speaking, Sister Phoenix's voice came in, which put him into a dilemma whether to loose it or to clutch it. He cried: "Fair girl, do not let her know!" Sister Phoenix had entered when Patient rose up. Sister Phoenix ordered Patient: "Get the patterns out of that box for the mistress, quick." Patience promised quickly. When she was finding the patterns, Sister Phoenix saw Romance Merchant and she suddenly remembered something and asked Patience: "Have you taken in all the things that were taken out?" "Yes, I brought them all in." "Anything lost?" "I checked carefully and nothing disappeared." "Anything new appeared?" Patience smiled: "It is normal to check whether anything was lost, how could it be that anything new appears?" Sister Phoenix smiled: "For the past half month, it was difficult to make sure that nothing new appeared. Nobody can say sure that whether his lover outside left a ring, a scarf and so on." These words paled his face; he begged Patient to hide this for him behind Sister Phoenix.--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 07:57, 8 June 2021 (UTC)

=Dài Mùyǔ 戴沐雨=
平儿只作看不见，因笑道：“怎么
我的心就和奶奶一样！我就怕有这样的，留神搜了一搜，竟一点破绽也没有。
奶奶不信，亲自搜一搜。”凤姐笑道：“傻丫头，他便有这些东西，那里就叫咱们搜
着。”说着，拿了样子出去了。

平儿指着鼻子，摇着头儿，笑道：“这件事你该怎么谢我呢？”喜的贾琏眉开
眼笑，跑过来搂着，“心肝肠儿肉儿”乱叫。平儿手里拿着头发，笑道：“这是一
辈子的把柄儿。好就好，不好咱们就抖出这个来。”贾琏笑着央告道：“你好生
收着罢，千万可别叫他知道。”口里说着，瞅他不堤防，一把便抢过来，笑道：“你
拿着终是祸胎，不如我烧了，就完了事了。”一面说，面掖在靴掖子内。平儿咬
牙道：“没良心的，‘过了河儿就拆桥’，明儿还想我替你撒谎呢！”

贾琏见他娇俏动情，便搂着求欢，平儿夺手跑了出来，急的贾琏弯着腰恨
道：“死促狭小娼妇儿！一定浪上人的火来，他又跑了。”平儿在窗外笑道：“我
浪我的，谁叫你动火？难道图你受用，叫他知道了，又不代见我呀！”贾琏道：“你
不用怕他，等我性子上来，把这‘醋罐子’打个稀烂，他才认得我呢！他防我像
防贼似的．只许他同男人说话，不许我和女人说话。我和女人说话，略近些，他
就疑惑；他不论小叔子、侄儿、大的、小的，说说笑笑，就不怕我吃醋了。以后我
也不许他见人！”
Patience pretended not to see it and then smiled: “What a coincidence that what I thought was the same as yours. So I watched out for it especially to avoid such things, it turned out that there’s no flaw. If you don’t trust me, just search for it in person.” Splendid Phoenix King laughed: “My silly girl, if he does have those things, how could he tell us?” Saying this, she took the sample and walked out.

Patience pointed to the nose of Romance Merchant, with her head shaking, and said that: “How do you intend to thank me?” Romance Merchant was so joyful that his brows and eyes were curved, running to hug her and calling her “my sweet heart”, “my intestines”, and “my fleshes”. Holding hair in her hand, Patience smiled: “I could keep this handle for my whole life. If you treat me well, then I’ll keep your secret, otherwise I’m afraid I may not be able to keep it.” He then asked earnestly: “You just keep it well and don’t let her know.” At the time he said this, he grabbed it when she wandered, smiling: “Holding in your hands, it could be the disaster in the end. It will be much better if I burn it out.” Simultaneously he hided it in his sleeves. Gritting her teeth, Patience said: “You are just ungrateful, and you just kick down the ladder, I will never say one word for you.”

Witnessing her pretty, Romance Merchant hugged her for pleasure. Patience threw out his hands and ran away, letting him stoop and yelled: “What a whore you are! You are just profligate, attracting other’s attention and then dodging.” Patience laughed outside the window: “I am profligate by myself, who asks you to look at me? For your ability? Splendid Phoenix King would not tolerate me if she knew.” He replied: “You don’t need to fear her. Only when I take it seriously and break this “vinegar jar” can she realize my power. She guarded against me just as if I was a thief and she prohibited me from chatting to women but spoiling herself for talking with males. When I talked with women, if I stayed closer to them, she would think that I’ve done something bad; for her, she talked cheerfully with those uncles and nieces, juniors and seniors, ignoring my feelings. Anyway, I’ll limit the people she meet afterwards.”--[[User:Dai Muyu|Dai Muyu]] ([[User talk:Dai Muyu|talk]]) 15:43, 6 June 2021 (UTC)

Patience pretended not to see it and then laughed, “What a coincidence that what I thought was the same as what you thought. So I searched carefully, it turned out that there’s no flaw. If you don’t trust me, just search for it in person.” Splendid Phoenix King laughed, “My silly girl, if he does have those things, how could he let us detect it?” Saying this, she took the sample and walked out.

Patience pointed to the nose of Romance Merchant with a shaking head and said ,“How are you going to thank me for that?” Romance Merchant was so joyful that his brows and eyes were curved, running to hug her and calling her “my sweet heart”, “my intestines”, and “my fleshes”. Holding hair in her hand, Patience smiled: “I could keep this handle for my whole life. If you treat me well, then I’ll keep your secret, otherwise I’m afraid I may not be able to keep it.” He then asked earnestly: “You just keep it well and don’t let her know.” At the time he said this, he grabbed it when she wandered, smiling: “Holding in your hands, it could be the disaster in the end. It will be much better if I burn it out.” Simultaneously he hided it in his sleeves. Gritting her teeth, Patience said: “You are just ungrateful, and you just kick down the ladder, I will never say one word for you.”

Witnessing her pretty, Romance Merchant hugged her for pleasure. Patience threw out his hands and ran away, letting him stoop and yelled: “What a whore you are! You are just profligate, attracting other’s attention and then dodging.” Patience laughed outside the window: “I am profligate by myself, who asks you to look at me? For your ability? Splendid Phoenix King would not tolerate me if she knew.” He replied: “You don’t need to fear her. Only when I take it seriously and break this “vinegar jar” can she realize my power. She guarded against me just as if I was a thief and she prohibited me from chatting to women but spoiling herself for talking with males. When I talked with women, if I stayed closer to them, she would think that I’ve done something bad; for her, she talked cheerfully with those uncles and nieces, juniors and seniors, ignoring my feelings. Anyway, I’ll limit the people she meet afterwards.”--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 09:18, 9 June 2021 (UTC)

=Dèng Dān 邓丹=
平儿道：“他醋你使得，你醋他使不得，他原行的正，走的正，你
行动便有坏心，连我也不放心，别说他呀。”贾琏道：“你两个一口贼气！都是你
们行得是，我凡行动都存坏心。多早晚才叫你们都死在我手里呢！”

一句未了，凤姐走进院来，因见平儿在窗外，就问道：“要说话，怎么不在屋
里，跑出来隔着窗子，是什么意思？”贾琏在内接嘴道：“你可问他，倒像屋里有老
虎吃他呢！”平儿道：“屋里一个人没有，我在他跟前作什么？”凤姐笑道：“正是
没人才好呢。”平儿听说，便道：“这话是说我么？”凤姐便笑道：“不说你说谁？”
平儿道：“别叫我说出好话来了。”说着，也不打帘子，一径往那边去了。

凤姐自掀帘子进来，说道：“平儿丫头疯魔了，这蹄子认真要降伏起我来
了，仔细你的皮要紧！”贾琏听了，倒在炕上，拍手笑道：“我竟不知平儿这么利
害，从此倒服了他了。”凤姐道：“都是你兴的他，我只和你算帐就完了。”贾琏听
了啐道：“你两个不睦，又拿我来垫喘儿，我躲开你们。”凤姐道：“我看你躲到那
里击。”贾琏道：“我有处去。”说着就走，凤姐道：“你别走，我有话和你说呢。”不
知何事，且听下回分解。

Patience said,“She’s right to be jealous of you, but you’re wrong to be jealous of her.”“She has done nothing wrong. But you bear malice in your minid. Even I wouldn’t trust you.”“You two are in the same team. All you two do is right, all I do is wrong. Sooner or later I’ll avenge myself on what you've done on me.”
When he was speaking, Splendid Phoenix King walked into the yard. Seeing Patience at the window,she asked, “Why not talk in the room? Why run out of the room to shout through the window? What do you mean?”Jia Lian replied from the room,“she acts as if there's a tiger in the room determining to eat her."
“There's no one else in the room. Why should I stay there alone with him?” asked Patience.“That's fine”, Splendid Phoenix King smiled.“Is that remark aimed at me?”“Who else?” Splendid Phoenix King laughed.“Don’t make me say something you’ll be sorry for!” Instead of raising the door curtain, Patience went straight and left the room. Splendid Phoenix King raised the curtain herself and remarked, “The girl must be crazy, trying to threaten me. You’d better watch out!”“I never knew Patience could be so crazy,” Romance Merchant crowed, clapping his hands. “I've been convinced by her.”Romance Merchant had fallen back laughing on a heatable brick bed.“It’s you who’ve spoiled her. I'll hold you responsible.”“You can't get along well with her, why put the blame on me? I’d better make myself stay away from you", said Romance Merchant. “Where are you going?”“I will go somewhere pleasant”,replied Romance Merchant.“Wait,” said Splendid Phoenix King. “There’s something I'd like to talk with you.” To know what it was, read the next chapter.--[[User:Deng Dan1|Deng Dan1]] ([[User talk:Deng Dan1|talk]]) 08:30, 9 June 2021 (UTC)

You two are in the same team now . All your guys do is right, all I do is wrong. Sooner or later I’ll avenge myself on what you've done on me.”
When he was speaking, Splendid Phoenix King walked into the yard. Seeing Patience at the window,she asked, “Why not talk in the room? Why run out of the room to shout through the window? What do you mean?”Jia Lian replied from the room,“she acts as if there's a tiger in the room determining to eat her."
“There's no one else in the room. Why should I stay there alone with him?” asked Patience.“That's fine”, Splendid Phoenix King smiled.“Is that remark aimed at me?”“Who else?” Splendid Phoenix King laughed.“Don’t make me say something you’ll be sorry for!” Instead of raising the door curtain, Patience went straight and left the room. Splendid Phoenix King raised the curtain herself and remarked, “The girl must be crazy, even trying to threaten me. I think you’d better watch out!”“I never knew Patience could be such a crazy person!” --[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:17, 9 June 2021 (UTC)Ding Zhongxia

=Dīng Zhòngxià 丁仲夏=
◎第二十二回听曲文宝玉悟禅机制灯谜贾政悲谶语

话说贾琏听凤姐儿说有话商量，因止步问：“是何话？”凤姐道：“二十一是
薛妹妹的生日，你到底怎么样？”贾琏道：“我知道怎么样？你连多少大生日都
料理过了，这会子倒没有主意了。”凤姐道：“大生日是有一定的则例。如今他
这生日，大又不是，小又不是，所以和你商量。”贾琏听了，低头想了半日，道：“你
竟糊涂了！现有比例，那林妹妹就是例。往年怎么给林妹妹做的，如今也照样
给薛妹妹做就是了。”凤姐听了冷笑道：“我难道这个也不知道？我原也这么想
定了。但昨日听见老太太说，问起大家的年纪生日来，听见薛大妹妹今年十五
岁，虽不是整生日，也算得将笄之年。老太太说要替他做生日，自然与往年给林
妹妹的不同了。”贾琏道：“既如此，就比林妹妹的多增些。”凤姐道：“我也这么
想着，所以讨你的口气。我若私自添了东西，你又怪我不告诉明白你了。”贾琏
笑道：“罢，罢！这空头情我不领；你不盘察我，就够了，我还怪你？”说着，一径去
了，不在话下。

Hearing that Splendid Phoenix King wanted to consult him about something, Jia Lian stopped to ask what it was.“It’s Baochai’s birthday on the twenty-first,” she said. “What do you intend to do about it?”“Why ask me that?” he retorted. “You’ve handled plenty of big birthday celebrations. Why can’t you cope with this?”“For big birthdays there are definite rules but this is neither big nor small, that’s why I wanted your advice.”He lowered his head to think before answering. “You’re losing your grip,” he said after a pause. “There’s a precedent in Baiyu’s birthday. Just celebrate this the same way.”“As if that hadn’t occurred to me too!” Splendid Phoenix King smiled mockingly. “But yesterday the old lady told me she’d been asking everybody’s age and learned that Baochai would be fifteen this year, and although that’s not a round number it means she’s reached marriageable age.If the old lady wants to celebrate her birthday specially, it’ll have to be different from Daiyu’s in the past.”“In that case, have things on a more lavish scale.”“That’s what I thought, but I wanted to sound you out so as not to be blamed for doing something extra on my own initiative without consulting you.”“Well, well! Why this sudden show of consideration? Me blame you? I’m quite satisfied if you don’t find fault with me.” With that he left, but where he went does not concern us.--[[User:Ding Zhongxia|Ding Zhongxia]] ([[User talk:Ding Zhongxia|talk]]) 09:16, 9 June 2021 (UTC)Ding Zhongxia

=Dù Xīnyǔ 杜心语=
且说史湘云住了两日，因要回去，贾母因说：“等过了你宝姐姐的生日，看
了戏，再回去。”史湘云听了，只得住下，又一面遣人回去，将自己旧日作的两件
针线活计取来，为宝钗生辰之仪。

谁想贾母自见宝钗来了，喜他稳重和平，正值他才过第一个生辰，便自己
捐资二十两，唤了凤姐来，交与他备酒戏。凤姐凑趣，笑道：“一个老祖宗，给孩
子们作生日，不拘怎样，谁还敢争？又办什么酒席。既高兴，要热闹，就说不得
自己花费几两老库里的体己。这早晚找出这霉烂的二十两银子来做东，意思还
叫我们赔上。果然拿不出来，也罢了；金的、银的、圆的、扁的，压塌了箱子底，只
是累掯们。举眼看看，谁不是你老人家的儿女？难道将来只有宝兄弟顶你老
人家上五台山不成？那些东西只留与他，我们如今虽不配使，也别苦了我们。
这个够酒的？够戏的？”说的满屋里都笑起来。贾母亦笑道：“你们听听这嘴！
我也算会说的了，怎么说不过这猴儿？你婆婆也不敢强嘴，你就和我‘??’啊
‘??’的。”凤姐笑道：“我婆婆也是一样的疼宝玉，我也没处去诉冤，倒说我强
嘴！”说着，又引贾母笑了一会。贾母十分喜悦。

After living in Jia's house for two days, Fragrant-cloud History was about to go back. Grandma Merchant said, "after Precious Jade Merchant's birthday, after watching the opera, I'll go back." After hearing this, Fragrant-cloud History had to stay. On the other hand, she sent someone back to take two pieces of needlework she had done before as Precious Jade Merchant's birthday gift.

But she never thought that when Precious Jade Merchant came, his grandmother liked his stable and peaceful character. On his first birthday in Jia's house, she paid 20 Liang for Splendid Phoenix King to prepare for his birthday party and opera. Splendid Phoenix King said with a smile: "an old ancestor celebrates children's birthday. No matter what, who dares to argue? What else is the banquet. As long as you are happy and lively, how much money can't you take out of your wallet? Sooner or later, if we can find out the rotten twenty taels of silver to be the host, there is no reason for us to compensate. If you can't get the money out, you can forget it; But gold, silver, round, flat money, I'm afraid it will collapse the bottom of the box, push together, do not want to take it out. Look up, who is not your son and daughter? Can only Precious Jade Merchant carry you to WUBAOSHAN in the future? The legacy is only left to him. Although we are not qualified now, don't let us suffer. Is this enough for opera singers? " All the talk made the house laugh. "Listen to this," Grandma Merchant said with a smile ”I can say it. How can I not say this man? Your mother-in-law dare not answer back. " Splendid Phoenix King said with a smile, "my mother-in-law loves Precious Jade Merchant the same way. I have no place to complain. Instead, you say I have to fight back!" She said, and made the lady laugh for a while. Grandma Merchant was very happy.

=Guō Yàbō 郭亚波=
到晚上，众人都在贾母前，定省之余，大家娘儿姊妹等说笑时，贾母因问宝
钗爱听何戏，爱吃何物。宝钗深知贾母年老人，喜热闹戏文，爱吃甜烂之物，便
总依贾母素喜者说了一遍，贾母更加喜欢。次日，先送过衣服玩物去，王夫人、
凤姐、黛玉等诸人皆有随分的，不须细说。

至二十一日，就贾母内院搭了家常小巧戏台，定了一班新出小戏，昆弋两
腔俱有。就在贾母上房摆了几席家宴酒席，并无一个外客，只有薛姨妈、史湘
云、宝钗是客，余者皆是自己人。这日早起，宝玉因不见黛玉，便到他房中来寻。
只见黛玉歪在炕上，宝玉笑道：“起来吃饭去，就开戏了，你爱听那一出，我好
点。”黛玉冷笑道：“你既这样说，你就特叫一班戏，拣我爱的唱与我听，这会子犯
不上借着光儿问我。”宝玉笑道：“这有什么难的，明儿就这样行，也叫他们借着
咱们的光儿。”一面说，一面拉他起来，携手出去。

吃了饭，点戏时，贾母一面先叫宝钗点，宝钗推让一遍，无法，只得点了一折
《西游记》。贾母自是欢喜。然后使命凤姐点。凤姐虽有王夫人在前，但因贾
母之命，不敢违拗；且知贾母喜热闹，更喜谑笑科诨，便先点了一出，却是《刘二
当衣》。贾母果真更又喜欢。然后使命黛玉点，黛玉又让王夫人等先点。

That night, after the family had gathered to pay their evening respects to the Grandma Merchant and then gone on to chat, she asked Precious Haipin to name her favourite operas and dishes. Knowing the old lady’s partiality for lively shows and sweet, pappy food, Precious Haipin gave these as her own preferences, adding even more to the Grandma Merchant’s pleasure. The first thing next day she had presents of clothing and trinkets sent to the girl. Lady King, Splendid Phoenix, Mascara Jade and the others also sent theirs according to the status of each. But these need not be enumerated in detail. On the twenty-first a small stage was set up in the Grandma Merchant’s inner courtyard and a new troupe of young actresses had been hired who were able to perform both Kunqu and Yiyang operas. Tables were laid in the hail for a family feast, to which no outsiders were asked: apart from Aunt Marshgrass, Fragrant-cloud and Precious Haipin, who were guests, all the rest would be members of the family. Not seeing Mascara Jade that morning, Precious Jade went to look for her and found her curled up on her kang. “Come on to breakfast,” he said, “The show will soon be starting. Tell me which opera you’d like and I’ll ask for it.” Mascara Jade smiled disdainfully: “If that’s how you feel, you’d better hire a special company to play my favourite pieces instead of expecting me to cash in on someone else’s birthday.” “That’s easy, we’ll hire a company next time and let the rest of them cash in on us. He pulled her up and they went off hand in hand. After breakfast it was time to choose the plays and the Grandma Merchant called on Precious Haipin to name her choice. The girl declined the honour at first but finally, to the old lady’s delight, named a scene from Pilgrimage to the West. Next, Splendid Phoenix was ordered to take her pick. And knowing the old lady’s liking for lively plays, especially comedies and burlesques, she pleased her even more by selecting Liu Er Pawns His Clothes. Mascara Jade, told to choose next, deferred to Aunt Marshgrass and Lady King.

=Huáng Fāngfāng 黄芳芳=
贾母道：“今儿原是我特带着你们取乐，咱们只管咱们的，别理他们。我巴巴的唱戏
摆酒，为他们不成？他们在这里白听，白吃，已经便宜了，还让他们点戏呢！”说
着，大家都笑。黛玉方点了一出。然后宝玉、史湘云、迎春、探春、惜春、李纨等
俱各点了，按出扮演。

至上酒席时，贾母又命宝钗点，宝钗点了一出《鲁智深醉闹五台山》。宝玉
道：‘你只好点这些戏。”宝钗道：“你白听了这几年戏，那里知道这出戏的好处？
排场又好，词藻更妙。”宝玉道：“我从来怕这些热闹戏。”宝钗笑道：“要说这一
出‘热闹’，还算你不知戏呢。你过来，我告诉你，这一出戏是一套‘北点绛唇’，
铿锵顿挫，那音律不用说是好的了；只那词藻中，有一只‘寄生草’，填得极妙，你
何曾知道！”宝玉见说的这般好，便凑近来央告：“好姐姐，念与我听听。”宝钗便
念道：
漫揾英雄泪，相离处士家。谢慈悲，剃度在莲台下。没缘法，转眼分
离乍。赤条条，来去无牵挂。那里讨，烟蓑雨笠卷单行？一任俺，芒鞋破
钵随缘化！

Grandma Merchant said:" I was going to let you have fun. So let's focus on our happiness and let them alone. Don't I order others to sing operas and prepare a meal for them? They have taken advantage of listening and eating freely here. They even are allowed to order plays." People all laughed when Grandma Merchant was talking. Then Mascara Jade ordered one play. Precious Jade, Fragrant-cloud History, Spring Pleasure, Seeking-Spring, Cherishing Spring, and Silk Plum followed her to order some plays. Opera singers performed with the orders.

When the meal was served, Grandma Merchant had Precious Hairpin to order another more play. Precious Hairpin ordered the play, Drunken Intelligent Savage' trick on the Five Stages Mountain. Precious Jade said:" You order plays like only this kind of plays." Precious Hairpin replied:" You have listened opera plays in vain these years. Aren't you sure about the advantages of this play. It was well arranged and had flowery language." Precious Jade said:" I have ever been afraid of such lively opera plays." Precious Hairpin said with a smile:" If you say this is lively one, you still don't have a good knowledge of the play. Come here. I tell you that the play is ＇Crimson the Lips of the North Point＇, which is sonorous and resonant, and whose rhythm is good undoubtedly. There is a ＇Parasitic Weed ＇ in its phrases. It was wonderfully filled and you never know it!" Hearing that it was thought highly, Precious Jade came closed to her and begged her:" Good sister, please you read it for me." Precious Hairpin read:" Weeping my tears for the moment, I leave my close friend's home. Giving thanks to Bodhisattva's mercy, I can have my head shaved under the Lotus Platform. Having no karma, we have to break up. I am alone with nothing. I am free from care to come and go. Where can I find a kind of life where I can go anywhere if I want？ Let me wear a pair of straw sandals and bring a broken plate with me to travel around the world with fate."

=Huáng Lìpèi 黄沥霈=
宝玉听了，喜的拍膝摇头，称赏不已，又赞宝钗无书不知。林黛玉道：“安静看戏
罢！还没唱《山门》，你就《妆疯》了。”说的湘云也笑了。于是大家看戏，到晚方
散。

贾母探爱那做小旦的与一个做小丑的，因命人带进来，细看时，益发可怜
见。因问年纪，那小旦才十一岁，小丑才九岁，大家叹息了一回。贾母令人另拿
些肉果与他两个，又另赏钱两吊。凤姐笑道：“这个孩子扮上活像一个人，你们
再看不出。”宝钗心内也知道，却点点头不说；宝玉也点了点头，亦不敢说。史湘
云便接口道：“倒像林姐蛆的模样。”宝玉听了，忙把湘云瞅了一眼．使个眼色，众
人听了这话，留神细看，都笑起来了，说“果然像得狠！”一时散了。

晚问，湘云便命翠缕把衣包收拾了，翠缕道：“忙什么？等去的那日包也不
迟。”湘云道：“明早就走，还在这里做什么？看人家的嘴脸！”宝玉听了这话，忙
近前说道：“好妹妹，你错怪了我。林妹妹是个多心的人。别人分明知道，不肯
说出来，也皆因怕他恼。谁知你不防头就说了出来，他岂不恼？我怕你得罪了
人，所以才使眼色。你这会子恼了我，岂不辜负了我？若是别个，那怕他得罪了
十个人，与我何干呢！”

As soon as Precious Jade had listened to Precious Hairpin's recital, he was joyful that clapping his knees with his hands and shaking his head, he has lauded her recital and then he told Precious Hairpin, saying: "There is no book that you don't know!" "Be quiet! and listen to the play," Mascara Jade Forest urged, "they haven't sung about the 'mountain gate' yet and you already 'pretend to be mad'!" At these words, Fragrant-cloud also laughed. Therefore, the whole party watched the performance until evening and they broke up.

Grandma Merchant was so much into the young actor who played the role of a lady as well as the one who acted as a buffoon, so she gave orders to bring them in, and as she looked them closely, she felt much more interest on them, then she went on to inquire what their ages were. When the actor who played the role as a lady replied that he was just eleven while the other one was just nine. The whole party gave an expression of sympathy for them. Then, Grandma Merchant let servants to bring some fresh fruits and meats for both of them and also gave them two tiaos as a present apart from their wages. “This young actor looks like a certain person when he dressed up as a girl, did you notice it?" Lady Phoenix observed and smiled. Precious Hairpin was also aware of the fact, but she simply nodded her head and did not say who it was. Precious Jade— shaking his head — did not presume to speak out. However, Fragrant-cloud History readily took up the conversation. She interposed, "He resembles Cousin Forest's face!" When this remark reached Precious Jade's ear, he casted an angry scowl at Fragrant-cloud and to make her a sign, while the whole party indulged in careful of the young actor after hearing what had been said and they began to laugh: "They really look alike!" they exclaimed. After a while, they parted.

When evening came, Fragrant-cloud directed Kingfisher to pack up her clothes. " What is in the hurry?" Kingfisher asked, " they will have time to pack up on the day we left." "We will left tomorrow morning," Fragrant-cloud rejoined, "for what the point is to stay here and have to look at people's mouths and faces!" At these words, Precious Jade pressed forward and urged: "My dear cousin, you are wrong in bearing me a grudge! Cousin Forest is a girl that very touchy, so though one else distinctly knew the answer and they wouldn't speak out and all because they were afraid that she would be angry but you came out with unexpectedly, at that moment when off your guard, how couldn't she not feel hurt? It was also because I was afraid that you would given offence to other people so I winked at you and now here you are angry at me, wasn't that being ungrateful to me? Had it been anyone else, would I care whether she had given ofeence to even ten, and that would had been none of my business!"

Grandma Merchant was so much into the young actor who played the role of a lady as well as the one who acted like a buffoon, so she gave orders to bring them in, and as she looked them closely, she felt much more interest in them, then she went on to inquire what their ages were. When the actor who played the role as a lady replied that he was just eleven while the other one was just nine. The whole party gave an expression of sympathy for them. Then, Grandma Merchant let servants bring some fresh fruits and meats for both of them and also gave them two times as a present apart from their wages. “This young actor looks like a certain person when he dressed up as a girl, did you notice it?" Lady Phoenix observed and smiled. Precious Hairpin was also aware of the fact, but she simply nodded her head and did not say who it was. Precious Jade— shaking his head — did not presume to speak out. However, Fragrant-cloud History readily took up the conversation. She interposed, "He resembles Cousin Forest's face!" When this remark reached Precious Jade's ear, he cast an angry scowl at Fragrant-cloud and to make her a sign, while the whole party indulged in careful of the young actor after hearing what had been said and they began to laugh: "They really look alike!" they exclaimed. After a while, they parted.

When evening came, Fragrant-cloud directed Kingfisher to pack up her clothes. " What is in the hurry?" Kingfisher asked, " they will have time to pack up on the day we left." "We are going to leave tomorrow morning," Fragrant-cloud rejoined, "for what the point is to stay here and have to look at people's mouths and faces!" At these words, Precious Jade pressed forward and urged: "My dear cousin, you are wrong in bearing me a grudge! Cousin Forest is a girl that very touchy, so though one else distinctly knew the answer and they wouldn't speak out and all because they were afraid that she would be angry but you came out with unexpectedly, at that moment when off your guard, how couldn't she not feel hurt? It was also because I was afraid that you would give offense to other people so I winked at you and now here you are angry at me, wasn't that being ungrateful to me? Had it been anyone else, would I care whether she had given offense to even ten, and that would have been none of my business!"--[[User:Huang Xiaolan|Huang Xiaolan]] ([[User talk:Huang Xiaolan|talk]]) 12:20, 15 June 2021 (UTC)

=Huáng Xiàolán 黄笑兰=
湘云摔手道：“你那花言巧语，别望着我说。我也原不如
你林妹妹，别人拿他取笑都使得，只我说了就有不是。我原不配说他，他是主子
小姐，我是奴才丫头，得罪丁他了。”宝玉急的说道：“我倒是为你为出不是来了。
我要有坏心，立刻化成灰，教万人践踏！”湘云道：“大正月里，少信口胡说这些没
要紧的恶誓散语歪话！说给那些小性儿、行动爱恼人、会辖治你的人听去！别
叫我啐你。”说着，至贾母里间屋里，忿忿的躺着去了。

宝玉没趣，只得又来寻黛玉。谁知才进门，便被黛玉推出来，将门关了。
宝玉又不解何故，在窗外只是低声叫：“好妹妹。”黛玉总不理他。宝玉闷闷的
垂头不语。袭人早知端的，当此时，再不能劝。

那宝玉只呆呆的站着。黛玉只当他回去了，却开了门，只见宝玉还站在那
里。黛玉不好再闭门，宝玉因随进来，问道：“凡事都有个原故，说来，人也不委
屈。好好的就恼了，到底是为什么起？”黛玉冷笑道：“问的我倒好，我也不知为
什么。我原是给你们取笑的？拿着我比戏子，给众人取笑。”宝玉道：“我并没
有比你，也并没有笑你，为什么恼我呢？”黛玉道：“你还要比？你还要笑？你不
比不笑，比人家比了笑了的还利害呢！”宝玉听说，无可分辩。

Fragrant-cloud waved him crossly away. "Don't try to get round me with your flattering talk. I'm not in the same class as your Cousin Mascara Jade. It's all right for other people to make fun of her, but I'm not even allowed to mention her. She's a grand young lady, I'm a slave-how dare I offend her?" "I was only thinking of you, yet now you put me in the wrong." Precious Jade was desperate. "If I meant any harm, may I tum into dust this instant and be trampled on by ten thousand feet!" "Stop talking such nonsense just after the New Year. Or go and rave if you must to those petty-minded creatures who are so quick to take offence, and who know how to manage you. Don't make me spit at you!" She flounced off to the Lady Dowager's inner room and threw herself down angrily on a couch.

After this snub Precious Jade went to look for Mascara Jade, but scarcely had he set foot in her room than she pushed him out and closed the door in his face. Mystified, he called in a subdued voice through the window: "Dear cousin!" But Mascara Jade simply ignored him. He hung his head then in dejected silence. Aroma knew it would be useless to reason with him just then.

So he was standing there like a fool when Mascara Jade opened the door, thinking him gone. When she saw him still standing there, she hadn't the heart to shut him out again. She turned away and curled up on her bed, while he followed her into the room. "There's always a reason for everything," he said. "If you'd explain, people wouldn't feel so hurt. What's upset you suddenly?" "A fine question to ask!" Mascara Jade gave a short laugh. "I don't know. For you I'm a figure of fun, to be compared with an actress in order to raise a laugh. " "But why be angry with me? I didn't make the comparison. I didn't laugh. " "I should hope not, indeed! But what you did was even worse than the others laughing and making comparisons." Precious Jade did not know how to defend himself and was silent.

Fragrant-cloud waved him crossly away. "Don't try to get round me with your flattering talk. I'm not in the same class as your Cousin Mascara Jade. It's all right for other people to make fun of her, but I'm not even allowed to mention her. She's a respected young lady, I'm a slave-how dare I offend her?" "I was only thinking of you, yet now you put me in the wrong." Precious Jade was desperate. "If I meant any harm, may I tum into dust this instant and be trampled on by ten thousand feet!" "Stop talking such nonsense right after the New Year. Or go and rave if you must to those petty-minded creatures who are so quick to take offence, and who know how to manage you. Don't make me spit at you!" She flounced off to the Lady Dowager's inner room and threw herself down angrily on a couch.

After this snub Precious Jade went to look for Mascara Jade, but scarcely had he set foot in her room when she pushed him out and closed the door in his face. Mystified, he called in a subdued voice through the window: "Dear cousin!" But Mascara Jade simply ignored him. He hung his head then in dejected silence. Aroma knew it would be useless to reason with him just then.

So he was standing there like a fool when Mascara Jade opened the door, thinking him gone. When she saw him still standing there, she hadn't the heart to shut him out again. She turned away and curled up on her bed, while he followed her into the room. "There's always a reason for everything," he said. "If you'd explain, people wouldn't feel so hurt. What's upset you suddenly?" "A fine question!" Mascara Jade gave a short laugh. "I don't know. For you I'm a figure of fun, to be compared with an actress in order to amuse others. " "But why are you angry with me? I didn't make the comparison. I didn't laugh. " "I should hope not, indeed! But what you did was even worse than the others laughing and making comparisons." Precious Jade did not know how to defend himself and was silent.--[[User:Huang Zilong|Huang Zilong]] ([[User talk:Huang Zilong|talk]]) 08:39, 15 June 2021 (UTC)

=Huáng Zǐlóng 黄梓龙 Mr.=
黛玉又道：“这一
节还可恕。再者，你为什么又和云儿使眼色？这安的是什么心？莫不是他和我
玩，他就自轻自贱了？他是公侯的小姐，我原是贫民家的丫头。他和我玩，设如
我回了口，岂不是他自惹轻贱？你是这个主意不是？你却也是好心，只是那一
个不领你的情，一般也恼了。你又拿我作情，倒说我‘小性儿，行动肯恼人’。
你又怕他得罪了我，我恼他，与你何于？他得罪了我，又与你何干？”

宝玉听了，知方才与湘云私谈，他也听见了。细想自己原为怕他二人生
隙，故在中间调停，不料自已反落了两处的贬谤，正与前日所看《南华经》内：
“巧者劳而智者忧，无能者无所求，蔬食而邀游，泛若不系之舟。”又曰：“山木自
寇，源泉自盗”等句，因此越想越无趣；再细想来：“如今不过这几个人，尚不能应
酬妥协，将来犹欲何为？”想到其间，也无庸分辩，自己转身回房。林黛玉见他去
了，便知回思无趣，赌气去了，一言也不曾发，不禁自己越舔了气，便说：“这一
去，一辈子也别来了，也别说话！”

那宝玉不理，竟回来，躺在床上，只是闷嗗咄的。

"I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud," Mascara Jade went on. "Just what did you mean by that?" That she would lower and cheapen herself by joking with me? She is a daughter of a noble house, I'm a nobody. If she were to joke with me and i answered back, that would be degrading for her- was that the idea? That was certainly kind of your part. Too bad she didn't appreciate your thoughtfulness but flared up all the same. Then you tried to excuse yourself at my expense,calling me 'pretty-minded and quick to take offence." You were afraid she might offend me, were you? But what is it to you if I ger angry with her? Or if she offends me?"

Precious Jade realized that she had overheard his conversation with Fragrant-cloud. He had intervened in an attempt to prevent bad feeling between them but, having failed, was now held to blame by both sides. This reminded him of the passage in Zhuangzi:"The ingenious work hard, the wise are full of care; but those without ability have no ambition. They enjoy thir food and wander at will like drifting boats freed form their moorings." And again:" Mountain trees are the first to be falled, clear fountains the first to be consumed." The more he thought the more depressed he grew. "If I can't even cope now with just these two, what will it be like in the future?" he reflected. At this point it seemed quite useless to attempt to justify himself, so he started back to his room.Mascara Jade realized that he must be very dejected by what had occurred to go off so sulkily without a word. But this only made her angrier than ever." Go then!" she cried." And don't ever come back! Don't speak to me again!"

Precious Jade paid no attention. Returning to his room, he lay down on his bed starting fixedly before him.

"I wouldn't have minded so much if you hadn't made eyes at Fragrant-cloud," Mascara Jade went on. "Just what did you mean? That she would lower and cheapen herself because of playing with me? She is a noble young lady, but I'm only the poor. If she were to play with me and I answered back, that would degrade for her.This is your meaning! You are certainly kind, but she didn't appreciate your thoughtfulness, and flared up all the same. Then you tried to excuse yourself at my expense,calling me pretty-minded and quick to take offence." You were afraid she might offend me, were you? But what is it to you if I get angry with her? Or if she offends me?"

Precious Jade realized that she had overheard their conversation. His aim is to solve contradiction between them but was now held to blame by them. This reminded him of the passage in Zhuangzi:"The ingenious work hard, the wise are full of care; but those without ability have no ambition. They enjoy their food and wander at will like drifting boats freed form their moorings." And again:" Mountain trees are the first to be fell, clear fountains the first to be consumed." The more he thought the more depressed he grew. "If I can't even cope now with just these two, what will it be like in the future?" he reflected. At this point it seemed quite useless to attempt to justify himself, so he started back to his room.Mascara Jade realized that he must be very dejected by what had occurred to go off so sulkily without a word. But this only made her angrier than ever." Go then!" she cried." And don't ever come back! Don't speak to me again!"

Precious Jade had no response, and returned to his room,laid down on his bed starting fixedly before him. ——Li Yihao

=Lǐ Yìhào 李艺浩=
袭人深知原委，不敢就说，只得以他事来解说，因笑道：“今儿看了戏，又勾出几天戏来。宝姑娘一定要还席呢。”宝玉冷笑道：“他还不还，与我什么相干？”袭人见这话不似往日口吻，因又笑道：“这是怎么说？好好的大正月里，娘儿们姊妹们都喜喜欢欢，你又怎么这个行景了？”宝玉冷笑道：“他们娘儿们姊妹们欢喜不欢喜，也与我无干。”袭人笑道：“他们随和，你也随和些，岂不喜欢？”宝玉道：“什么‘大家彼此’？他们有‘大家彼此’，我只是赤条条无牵挂的。”言及此句，不觉泪下。袭人见此景况，不敢再说。宝玉细想这一句意味，不禁大哭起来，翻身站起来，至案边，提笔立占一偈云：
你证我证，心证意证。是无有证，斯可云证。无可云证，是立足境。写毕，自己虽解悟，又恐人看此不解，因又填一只“寄生草”，写在偈后。又念一过，自觉心中无有挂碍，便上床睡了。谁知黛玉见宝玉此番果断而去，假以寻袭人为由，来视动静。袭人回道：“已经睡了。”黛玉听了，就欲回去，袭人笑道：“姑娘请站着，有一个字帖儿，瞧瞧是什么话。”便将宝玉方才所写的与黛玉看。
Aroma knew the reasons, but she feared speaking out, so explained other things. So she smiled,"I saw the play today,and I will space several other days to see play. Precious Hairpin Marshgrass must come." Precious Jade Merchant sneered: "Whether she come or not come, it is matter for me?" Aroma felt the words did not seem to be his usual tone, so she laughed again, "Why did you say that? In the first lunar month, the ladies and sisters are all happy. Why do you do this?" Precious Jade Merchant sneered, "It is nothing to do with me whether your ladies or sisters are happy or not." Aroma said with a smile, "They will be easygoing, and you will be easygoing. And you all are happy together?" Precious Jade Merchant said, "Each other? They have intimate relationship but I'm just excluded and have no relationship with them." While Speaking of this sentence, he can't help crying. Seeing this, Aroma dare not say anything any more. Thinking over the meaning of his words,burst into tears, turned to his feet, went to the table, picked up his pen and wrote a verse:
You think you know it, I think I know it, but it is only through the communion of the heart that the true understanding can be achieved. When there is no more understanding, it can be said to be truly thorough consciousness. The highest state of thought is reached when there is no more need to be tested. After writing this poem, although he understood it, he was afraid that others would not understand it, so he added a "parasitic grass" after the chapter. After reading it again, he felt that he was relaxed and went to asleep. It is beyond imagination that Mascara Jade Forest saw Precious Jade Merchant decisively left. So she pretended to seek to Aroma but in fact to see Precious Jade Merchant. Aroma replied, "He has been already asleep." Hearing this, Mascara Jade Forest wanted to go back, but Aroma said with a smile, "Girl, please stand here. I have a post and would like you see what it is." Then Aroma read to Mascara Jade Forest what Precious Jade Merchant had just written.

Aroma knew the reasons, but she feared speaking out, so explained other things. So she smiled, "I saw the play today, and I will space several other days to see the play. Precious Hairpin Marshgrass must come." Precious Jade Merchant sneered: "Whether she come or not come, it is a matter for me?" Aroma felt the words did not seem to be his usual tone, so she beamed again: "Why did you say that? In the first lunar month, the ladies and sisters are all happy. Why do you do this?" Precious Jade Merchant sneered, "It is nothing to do with me whether your ladies or sisters are happy or not." Aroma said with a smile, "They will be easygoing, and you will be easygoing. And you all are happy together?" Precious Jade Merchant said: "Each other? They have an intimate relationship but I'm just excluded and have no relationship with them." While Speaking of this sentence, he can't help crying. Seeing this, Aroma dare not say anything anymore. Thinking over the meaning of his words, burst into tears, turned to his feet, went to the table, picked up his pen, and wrote a verse:
You think you know it, I think I know it, but it is only through the communion of the heart that the true understanding can be achieved. When there is no more understanding, it can be said to be truly thorough consciousness. The highest state of thought is reached when there is no more need to be tested. After writing this poem, although he understood it, he was afraid that others would not understand it, so he added a "parasitic grass" after the chapter. After reading it again, he felt that he was relaxed and went to sleep. It is beyond imagination that Mascara Jade Forest saw Precious Jade Merchant decisively left. So she pretended to seek Aroma but in fact to see Precious Jade Merchant. Aroma replied, "He has been already asleep." Hearing this, Mascara Jade Forest wanted to go back, but Aroma said with a smile: "Miss, please stand here. I have a post and would like you to see what it is." Then Aroma read what Precious Jade Merchant had just written to Mascara Jade Forest.--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 13:23, 14 June 2021 (UTC)

=Liú Tíngyáng 刘廷阳=
黛玉看了，知宝玉为一时感忿
而作，不觉可笑可叹。便向袭人道：“作的是个玩意儿，无甚关系。”说毕，便拿了
回房去，与湘云同看。次日，又与宝钗看，宝钗念其词曰：

无我原非你，从他不解伊。肆行无碍凭来去。茫茫着甚悲愁喜，纷纷
说甚亲疏密？从前碌碌却因何？到如今，目头试想真无趣！
看毕，又看那偈语，又笑道：“这个人悟了。都是我的不是，是我昨儿一支曲子惹
出来的。这些道书机锋，最能移性，明几认真起来，说些疯话，存了这个念头，岂
不是从我这一支曲子起？我成了个罪魁了。”说着，便撕了个粉碎，递与丫头们，
叫：“快烧了。”黛玉笑道：“不该撕了，等我问他。你们跟我来，包管叫他收了这
个痴心邪说。”

三人果往宝玉屋里来。黛玉先笑道：“宝玉，我问你：至贵者‘宝’，至坚者
‘玉’。尔有何贵？尔有何坚？宝玉竟不能答。二人笑道：“这样愚钝，还参禅
呢！”湘云也拍手笑道：“宝哥哥可输了！”黛玉又道：“你那偈末云，‘无可云证，
是立足境’，固然好了，只是据我看来，还未尽善。我还续两句在后。”因念云：
“无立足境，方是干净。”

Daiyu watched, and knows that it was baoyu’s work with angry, so she smiled and plaint. And she said to Xiren: " Well it's an interesting thing, just let him go." After that, she took it back to her room and read it again with Xiangyun. The next day, she brought it to Baochai, who reads it aloud:
We are different, and also he doesn't understand you. Running freely in my way. Wondering, what’s my sadness and happiness? Why am I so busy? Until now, everything is boring to think about!” After reading it and review it, Baochai laughed again: "This man got it. It's all my mistakes for I played a tune yesterday. These Taoist songs are the most translatable things to a person’s personality. If he takes it seriously, speaks some crazy words, and save such ideas, I've become the original criminal."As she said, baochai tore it to pieces, handed it to servant girls, and said："Burn it up, hurry up." "No, you shouldn’t tear it. Wait, I’ll ask him. Come with me, he will not say that again."Daiyu said with a smile.
Consequently, these three girls came up to Baoyu’s room. Daiyu smiled first, and said: “Baoyu, let me ask you a question. The most expensive thing is treasure, and the hardest thing is jade. Where is the expensive or hard part of you? ” Baoyu didn’t know how to answer. Daiyu and Baochai laughed and said to him: “ You are so fool to awaken! ” Xiangyun laughed with clapping hand and said: “ Brother Jade is the loser!” Daiyu made a comment again: “ The last part of your maxim says, ‘ there’s no evident to support, so to support it with practice.’ It’s not bad, but in my opinion, it doesn’t good enough. I want to add two sentences, ‘If there’s no practice, there’s no everything.’”--[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 04:48, 7 June 2021 (UTC)

Mascara Jade watched, and knows that it was Precious Jade's work with angry, so she didn't think it deserved smiling at and appreciating. And she said to Aroma: " Well it's an interesting thing, just let him go." After that, she took it back to her room and read it again with Fragrant-cloud. The next day, she brought it to Precious Hairpin, who read it aloud:

We are different, and also he doesn't understand you. Running freely in my way. Wondering, what’s my sadness and happiness? What's closeness and distance? What was I busy for before? Until now, everything is boring to think about!” After reading it and the Buddhist verse, Precious Hairpin laughed again: "This man got a sudden enlightenment. It's all my fault to play that tune yesterday. These Taoist songs are the most translatable things to a person’s personality. If he takes it seriously, speaks some crazy words, and keeps such ideas, I will become the original criminal."As she said, Precious Hairpin tore it into pieces, handed it to servant girls, and said："Burn them up, hurry up." "No, you shouldn’t tear it. Wait, I’ll ask him. Come with me. He will not have such ideas again."Mascara Jade said with a smile.

Consequently, these three girls came up to Precious Jade’s room directly. Mascara Jade smiled first, and said: “Precious Jade, let me ask you a question. The most expensive thing is treasure, and the hardest thing is jade. Where is the expensive or hard part of you? ” Precious Jade didn’t know how to answer. Mascara Jade and Precious Hairpin laughed and said to him: “ You are so fool to practice meditation! ” Fragrant-cloud laughed with clapping hands and said: “ Brother Jade is the loser!” Mascara Jade made a comment again: “ The last part of your verse says, ‘ there’s no evident to support, so to support it with practice.’ It’s not bad, but in my opinion, it is not good enough. I want to add two sentences after them, ‘If there’s no practice, there’s nothing.’”--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 09:35, 8 June 2021 (UTC)

=Liú Zhuōfán 刘卓凡 Mr.=
宝钗道：“实在这方悟彻。当日南宗六祖惠能，初寻师
至韶州，闻五祖宏忍在黄梅，他便充役火头僧。五祖欲求法嗣，令徒弟请僧各出
一偈，上座神秀说道：‘身是菩提树，心如明镜台；时时勤拂拭，莫使有尘埃。’彼
时惠能在厨房舂米，听了这偈说道：‘美则美矣．了则未了。’因自念一偈日：‘菩
提本非树，明镜亦非台；本来无一物，何处染尘埃？’五祖便将衣钵传他。今儿这
偈语亦同此意了。只是方才这句机锋，尚未完全了结，这便丢开手不成？”黛玉
笑道：“他不能答就算输了，这会子答上了也不为出奇了。只是以后再不许谈
禅了。连我们两个所知所能的，你还不知不能呢，还去参禅呢。”宝玉自己以为
觉悟，小想忽被黛玉一问，便不能答；宝钗又比出“语录”来，此皆素不见他们能
者。自己想了一想：“原来他们比我的知觉在先，尚未解悟，我如今何必自寻苦
恼。”想毕，便笑道：“谁又参禅，不过是一时的玩话儿罢了。”说罢，四人仍复如
旧。

忽然人报娘娘差人送出一个灯谜来，命他们大家去猜，猜后每人也作一个
送进去。四人听说，忙出来至贾母上房，只见一个小太监，拿了一盏四角平头白
纱灯，专为灯谜而制，上面已有了一个，众人都争看乱猜。

Precious Hairpin said, “That shows your thorough understanding. In the past, Wit Ability, the sixth forefather of Zen Buddhism’s south sect, wanted to acknowledge the fifth forefather Hung-jen as his master, so he came to Beauty County. Hearing Hung-jen was in Yellow Plum, he served as a cooking monk for him. Hung-jun was going to pick a successor for himself, so he asked his disciples to come up with a Buddhist verse respectively. His chief disciple Miracle said: ‘The body is a bodhi tree. The heart is a mirror. Always wipe, do not coat it with dust.’ At that time, Wit Ability was pounding rice in the kitchen. He heard it and said: ‘It is beautiful enough but not finished.’ Then, he created another verse which said: ‘There is no Bodhi. There is no mirror. Nothing exists. What could the dust coat?’ Therefore, Hung-jen passed his mantle to him. Today, this verse means the same thing. But the keen words are not finished, do you want to abandon it?” Mascara Jade laughed and said: “He has been lost when he could not answer it. If he come up with it now, it is also not surprising. Just don't talk about Zen anymore. You don’t even know what we know. How can you practise meditation?” Precious Jade thought he had thoroughly understanded and he never predicted that he would fail to answering Mascara Jade’s question. Besides, Precious Hairpin also mentioned the allusion. These all proved that he was not as knowledgeable as them. Again, he thought that they had began to think about the question earlier than him but they still did not understand thoroughly; then, he did not have to trouble himself. After considering these, he said: “Who says I am going to practise meditation? I am just kidding.” After that, the four became reconciled again.

Suddenly, someone came to report that the imperial concubine ordered someone to send a lantern riddle to them; after they guessed, they had to come up with one respectively and sent them to palace. They heard that and rushed to Grandma Merchant’s room. A little eunuch was there, taking a quadrangle and flatheaded white gauze lantern which was designed for lantern riddles with one riddle already on it. People all competed to see and guess.--[[User:Liu Zhuofan|Liu Zhuofan]] ([[User talk:Liu Zhuofan|talk]]) 08:57, 4 June 2021 (UTC)

=Péng Jiāyù 彭佳钰=
小太监又下谕道：“众
小姐猜着，不要说出来，每人只暗暗的写了，一齐封送进去，侯娘娘自验是否。”
宝钗听了，近前一看，是一首七言绝句，并无新奇，口中少不得称赞只说“难
猜。”故意寻思，其实一见早猜着了。宝玉、黛玉、湘云、探春四个人也都解了，各
自暗暗的写了。一并将贾环贾兰等传来，一齐各揣心机猜了，写在纸上，然后各
人拈一物作成一谜，恭楷写了，挂于灯上。

太监去了，至晚出来，传谕道：“前日娘娘所制，俱已猜着，惟二小姐与三爷
猜的不是。小姐们作的也都猜了，不知是否？”说着，也将写的拿出来，也有猜着
的，也有猜不着的。太监又将颁赐之物，送与猜着之人，每人一个宫制诗筒，一
柄茶筅。独迎春贾环二人未得，迎春自以为玩笑小事，并不介意，贾环便觉得没
趣。且又听太监说：“三爷所作这个不通，娘娘也没猜着，叫我带回问三爷是个
什么。”众人听了，都来看他作的是什么，写道：

大哥有角只八个，二哥有角只两根。大哥只在床上坐，二哥爱在房上蹲。
众人看了，大发一笑。贾环只得告诉太监说：“是一个枕头，一个兽头。”太监记
了，领茶而去。

=Shū Lín 舒琳=
贾母见元春这般有兴，自己一发喜乐，便命速作一架小巧精致围屏灯来，
设于堂屋，命他姊妹们各自暗暗的做了，写出来，粘在屏上，然后预备下香茶细
果，以及各色玩物，为猜着之贺。贾政朝罢，见贾母高兴，况在节间，晚上也来承
欢取乐。上面贾母、贾政、宝玉一席，王夫人、宝钗、黛玉、湘云又一席，迎春、探
春、惜春三人又一席，俱在下面。地下婆子丫鬟站满。李宫裁、王熙凤二人在里
间又一席。

贾政因不见贾兰，便间：“怎么不见兰哥儿？”地下女人们忙进里间问李氏，
李氏起身笑着回道：“他说方才老爷并没去叫他，他不肯来。”婆子回复了贾政，
众人都笑说：“天生的牛心古怪。”贾政忙遣贾环与两个婆子将贾兰唤来，贾母
命他在身边坐了，抓果子与他吃，大家说笑取乐。往常间只有宝玉长谈阔论，今
日贾政在这里，便唯唯而已。余者，湘云虽系闺阁弱质，却素喜谈论，今日贾政
在席，也白钳口禁语；黛玉本性娇懒，不肯多话；宝钗原不妄言轻动，便此时亦是
坦然自若。故此一席，虽是家常取乐，反见拘束。

贾母亦知因贾政一人在此所致，酒过三巡，便撵贾政去歇息。

Grandma Merchant, noticing in what buoyant spirits First Spring Merchant was, felt herself so much the more elated, that issuing forthwith directions to devise, with every despatch, a small but ingenious lantern of fine texture in the shape of a screen, and put it in the Hall, she bade each of her grandchildren secretly compose a conundrum, copy it out clean, and affix it on the frame of the lantern; and she had subsequently scented tea and fine fruits, as well as every kind of nicknacks, got ready, as prizes for those who guessed right.
And when Master Merchant came from court and found Grandma Merchant in such high glee he also came over in the evening, as the season was furthermore holiday time, to avail himself of her good cheer to reap some enjoyment. In the upper part of the room seated themselves, at one table dowager Grandma Merchant, Master Merchant, and Precious Jade Merchant; Lady King, Precious Hairpin Marshgrass Mascara Jade Forest, Fragrant-cloud History sat round another table, and Spring Pleasure Merchant, Seeking-Spring Merchant and Cherishing Spring Merchant, the three of them, occupied a separate table, and both these tables were laid in the lower part, while below, all over the floor, stood matrons and waiting-maids for Li Kung-ts'ai and Splendid Phoenix King were both seated in the inner section of the Hall, at another table.
Master Merchant failed to see Chia Lan, and he therefore inquired: "How is it I don't see brother Lan," whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Li. "He says," Mrs. Li stood up and rejoined with a smile, "that as your master didn't go just then to ask him round, he has no wish to come!" and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: "How obstinate and perverse his natural disposition is!" But Master Merchant lost no time in sending Chia Huan, together with two matrons, to fetch Chia Lan; and, on his arrival, dowager Grandma Merchant bade him sit by her side, and, taking a handful of fruits, she gave them to him to eat; after which the party chatted, laughed, and enjoyed themselves.
Ordinarily, there was no one but Precious Jade Merchant to say much or talk at any length, but on this day, with Master Merchant present, his remarks were limited to assents. And as to the rest, Fragrant-cloud History had, though a young girl, and of delicate physique, nevertheless ever been very fond of talking and discussing; but, on this instance, Master Merchant was at the feast, so that she also held her tongue and restrained her words. As for Mascara Jade Forest she was naturally peevish and listless, and not very much inclined to indulge in conversation; while Precious Hairpin Marshgrass, who had never been reckless in her words or frivolous in her deportment, likewise behaved on the present occasion in her usual dignified manner. Hence it was that this banquet, although a family party, given for the sake of relaxation, assumed contrariwise an appearance of restraint, and as Grandma Merchant was herself too well aware that it was to be ascribed to the presence of Master Merchant alone, she therefore, after the wine had gone round three times, forthwith hurried off Master Merchant to retire to rest.--[[User:Shu Lin|Shu Lin]] ([[User talk:Shu Lin|talk]]) 03:36, 5 June 2021 (UTC)

Grandma Merchant, noticing in what buoyant spirits First Spring Merchant was, felt herself so much the more elated, that issuing forthwith directions to devise, with every despatch, a small but ingenious lantern of fine texture in the shape of a screen, and put it in the Hall, she bade each of her grandchildren secretly compose a conundrum, copy it out clean, and affix it on the frame of the lantern; and she had subsequently scented tea and fine fruits, as well as every kind of nicknacks, got ready, as prizes for those who guessed right. And when Master Merchant came from court and found Grandma Merchant in such high glee he also came over in the evening, as the season was furthermore holiday time, to avail himself of her good cheer to reap some enjoyment. In the upper part of the room seated themselves, at one table dowager Grandma Merchant, Master Merchant, and Precious Jade; Lady King, Precious Hairpin, Mascara Jade, Fragrant-cloud sat round another table, and Spring Pleasure, Seeking-Spring and Cherishing Spring, the three of them, occupied a separate table, and both these tables were laid in the lower part, while below, all over the floor, stood matrons and waiting-maids for Aulic Sanction Plum (Silk Plum) and Splendid Phoenix King were both seated in the inner section of the Hall, at another table.

Master Merchant failed to see Orchid Merchant, and he therefore inquired: "How is it I don't see brother Orchid," whereupon the female servants, standing below, hastily entered the inner room and made inquiries of widow Plum. "He says," Mrs. Plum stood up and rejoined with a smile, "that as your master didn't go just then to ask him round, he has no wish to come!" and when a matron delivered the reply to Master Merchant; the whole company exclaimed much amused: "How obstinate and perverse his natural disposition is!" But Master Merchant lost no time in sending Ring Merchant, together with two matrons, to fetch Orchid Merchant; and, on his arrival, Grandma Merchant bade him sit by her side, and, taking a handful of fruits, she gave them to him to eat; after which the party chatted, laughed, and enjoyed themselves. Ordinarily, there was no one but Precious Jade to say much or talk at any length, but on this day, with Master Merchant present, his remarks were limited to assents. And as to the rest, Fragrant-cloud had, though a young girl, and of delicate physique, nevertheless ever been very fond of talking and discussing; but, on this instance, Master Merchant was at the feast, so that she also held her tongue and restrained her words. As for Mascara Jade she was naturally peevish and listless, and not very much inclined to indulge in conversation; while Precious Hairpin, who had never been reckless in her words or frivolous in her deportment, likewise behaved on the present occasion in her usual dignified manner. Hence it was that this banquet, although a family party, given for the sake of relaxation, assumed contrariwise an appearance of restraint, and as Grandma Merchant was herself too well aware that it was to be ascribed to the presence of Master Merchant alone, she therefore, after the wine had gone round three times, forthwith hurried off Master Merchant to retire to rest.--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 07:28, 9 June 2021 (UTC)

=Sū Xiāo 苏潇=
贾政亦知贾
母之意，撵了他去，好让他姊妹兄弟们取乐，因陪笑道：“今日原听见老太太这里
大设春灯雅谜，故也备了彩礼酒席，特来入会，何疼孙子孙女之心，便不略赐与
儿子半点？”贾母笑道：“你在这里，他们都不敢说笑，没的倒叫我闷的慌。你要
猜谜，我便说一个你猜，猜不着是要罚的。”贾政忙笑道：“自然受罚。若猜着了，
也要领赏呢！”贾母道：“这个自然。”便念道：

猴子身轻站树梢——打一果名。
贾政巳知是荔枝，故意乱猜，罚了许多东西，然后方猜着了，也得了贾母的东西，
然后也念一个灯谜与贾母猜，念道：

身自端方，体自坚硬。虽不能言，有言必应——打一用物。

说毕，便悄悄的说与宝玉，宝玉会意，又悄悄的告诉了贾母。贾母想了一想，果
然不差，便说：“是砚台。”贾政笑道：“到底是老太太，一猜就是。”回头说：“快把
贺彩献上来。”地下妇女答应一声，大盘小盒，一齐捧上。贾母逐件看去，都是灯
节下所用所玩新巧之物，心中甚喜，遂命：“给你老爷斟酒。”宝玉执壶，迎春送
酒。贾母因说：“你瞧瞧那屏上，都是他姐儿们做的，再猜一猜我听。”贾政答应，
起身走至屏前，只见第一个是元妃的，写着道：

能使妖魔胆尽摧，身如束帛气如雷。一声震得人方恐，回首相看已化
灰——打一物。
贾政道：“这是爆竹呢。”宝玉答道：“是。”

Master Merchant knew Grandma Merchant's intention as well. Getting him out, so that his sisters and brothers could have fun. So he smiled and said, "Today I heard that mom set the spring lantern riddles, so I also prepared wonderful gifts and banquets for joining the party. Why don't you give your son a little of your love for your grandchildren?" Grandma Merchant laughed, "they don't dare to talk and laugh if you stay here. That silence makes me bored. Since you want to guess a riddle, I'll just tell you one to guess. If you don't guess out, you'll be punished." Master Merchant smiled at once, "Of course. But if I guess out, don't forget to give me the reward!" "That's for sure." Then Grandma Merchant read,

The light monkey stands on the treetop. The answer was a fruit name.
Master Merchant already knew that it was lichee, but he gave several wrong answers on purpose, with many things being fined. Then he guessed out and got the reward from Grandma Merchant. After that, he also read a lantern riddle to Grandma Merchant to guess, that is, his body is square and hard; he couldn’t speak but would answer all your questions. The answer is an article for use.
After saying this, he whispered to Precious Jade, who understood and whispered to Grandma Merchant. After thinking for a while, Grandma Merchant realized that it was surely right, so she replied, “It is an inkstone.” Master Merchant smiled, “Worthy of being our highly respected lady! You get the right answer at once.” He looked back and said, “Present my prepared gifts.”

--[[User:Su Xiao|Su Xiao]] ([[User talk:Su Xiao|talk]]) 04:23, 9 June 2021 (UTC)

=Tāng Huì 汤惠=
贾政又看迎春的，道：
天运人功理不穷，有功无运也难逢。因何镇日纷纷乱？只为阴阳数不同——打一用物。

贾政道：“是算盘。”迎春笑道：“是。”又往下看，是探春的，道：
阶下儿童仰面时，清明妆点最堪宜。游丝一断浑无力，莫向东风怨别
离——打一物。

贾政道：“好像风筝。”探春道：“是。”贾政再往下看，是黛玉的，道：
朝罢谁携两袖烟？琴边衾里两无缘。晓筹不用鸡人报，五夜无烦侍
女添。焦首朝朝还幕暮，煎心日日复年年。光阴荏苒须当惜，风雨阴睛任
变迁——打一物。
贾政道：“这个莫非是更香？”宝玉代言道：“是。”

贾政又看道：
南面而坐，北面而朝，“象忧亦忧，象喜亦喜”——打一物。
贾政道：“好，好！如猜镜子，妙极！”宝玉笑回道：“是。”

贾政道：“这一个却无名
字，是谁做的？”贾母道：“这个大约是宝玉做的。”贾政就不言语。往下再看宝
钗的，道是：
有眼无珠腹内空，荷花出水喜相逢。梧桐叶落分离别，恩爱夫妻不到
冬——打一物。
贾政看完，心内白忖道：“此物还倒有限。只是小小年纪，作此等言语，更觉不
祥，看来皆非福寿之辈。”想到此处，愈觉烦闷，大有悲戚之状，只是垂头沉思。

Master Merchant move on to read Spring Pleasure’s:

No end to the labour of men, to heaven’s decrees,
But labour unblessed by Heaven will fruitless be.
What causes this constant, frenzied activity?
The uncertainty of mortal destiny.

“An abacus?” Spring Pleasure agreed with a smile. Master Merchant read the next riddle:

The children by the steps look up:
Spring surely has no fitter decoration.
But when the silk cord breaks it drifts away,
Blame not the east wind for this separation.

“That sounds like a kite,” said Master Merchant. When Seeking Spring had confirmed this he looked at another riddle by Mascara Jade:

Who leaves the levee with smoke-scented sleeves?
Not destined by the lute or quilt to sit,
It needs no watchman to announce the dawn,
No maid at the fifth watch to replenish it.
Burned with anxiety both day and night,
Consumed with anguish as time slips away,
As life speeds past we learn to hold it dear—
What cares it whether foul or fair the day?

“Is it incense?” Precious Jade said for Mascara Jade: “Yes.”

Master Merchant thought to himself: “The object itself isn’t ill-omened, but what inauspicious lines for a young girl to write. It doesn’t look as if any of these girls will have good fortune or long life.” He lowered his head in thought and sunk in gloom.--[[User:Tang Hui|Tang Hui]] ([[User talk:Tang Hui|talk]]) 06:02, 6 June 2021 (UTC)

Master Merchant move on to read Spring Pleasure's riddle:

No end to the labor of men, to heaven’s decrees,
But labor unblessed by Heaven will fruitless be.
What causes this constant, frenzied activity?
The uncertainty of mortal destiny.

"An abacus?" Spring Pleasure agreed with a smile. Then, Master Merchant read the next riddle:

The children by the steps look up:
Spring surely has no fitter decoration.
But when the silk cord breaks it drifts away,
Blame not the east wind for this separation.

"That sounds like a kite," said Master Merchant.Seeking Spring confirmed his answer, and so he moved on to look at another riddle by Mascara Jade:

Who leaves the levee with smoke-scented sleeves?
Not destined by the lute or quilt to sit,
It needs no watchman to announce the dawn,
No maid at the fifth watch to replenish it.
Burned with anxiety both day and night,
Consumed with anguish as time slips away,
As life speeds past we learn to hold it dear—
What cares it whether foul or fair the day?

"Is it incense?" "Yes,"said Precious Jade.

The emperor faces the north while ministers face the south
Looks like gloom and it is gloom
Looks like happiness and it is happiness

"Good! It's a mirror!" Precious Jade smiled and said "Yes".

Master Merchant said," There is one without a name on it. Who made it?" Grandma Merchant said, " Maybe it was made by Precious Jade." Master Jade said no words and moved on to read the one made by Precious Hairpin.

Having read this, Master Merchant thought to himself: “The object itself isn’t ill-omened, but what inauspicious lines for a young girl to write! It doesn’t look as if any of these girls will have good fortune or long life.” He lowered his head in thought and sunk in gloom.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 06:49, 9 June 2021 (UTC)

=Táng Qǐzhōu 唐启洲 Mr.=
贾母见贾政如此光景，想到他身体劳乏，又恐拘束了他众姊妹，不得高兴玩耍，即对贾政道：“你竟不必在这里了，歇着去罢。让我们再坐一会子，也就散了。”贾政一闻此言，连忙答应几个“是”，又勉强劝了贾母一回酒，方才退出去了。回至房中，只是思索，翻来复去，甚觉凄惋。

这里贾母见贾政去了，便道：“你们乐一乐罢。”一语未了，只见宝玉跑至围屏灯前，指手画脚，信口批评，这个这一句不好，那个破的不恰当，如同开了锁的猴子一般。黛玉道：“还像方才大家坐着，说说笑笑，岂不斯文些儿。”凤姐自里间屋里出来，插口说道：“你这个人，就该老爷每日合你寸步不离方好。刚才我忘了，为什么不当着老爷，撺掇叫你作诗谜儿。这会子不怕你不出汗呢！”说的宝玉急了，扯着凤姐儿厮缠了一会。

贾母又与李宫裁并众姊妹等说笑了一会子，也觉有些困倦，听了听，已交四鼓了，因命将食物撤去，赏与众人，随起身道：“我们安歇罢。明日还是节呢，该当早起。明日晚上再玩罢。”于是众人散去。且听下回分解。

Grandma Merchant assumed that he must be tired, and felt his presence was spoiling the young people’s enjoyment. “There’s no need for you to stay here. You can go and rest,” she said. “We will sit up a little bit and go to rest, too.”Master Merchant responded several "yes" and forced himself to toast his mother once more before he withdrew. Back in his own apartment, he thought about it over and over again in his mind with a grievous sense.

As soon as he had gone, Grandma Merchant urged her grand-children, “Now relax and have some fun!”Precious Jade had already run up to the screen-lantern and was prancing about like a monkey freed from its chain, pulling different riddles to pieces.“Why not sit down as you were before, and chat with us in a more civilized way?”said Mascara Jade. Splendid Phoenix, who had joined them now, interrupted, “you ought to have the master keeping you by his side all the time. I forgot to suggest that you should make up some riddles in his presence. If I had, I’m sure you will be in a cold sweat!”Precious Jade made a frantic grab at her and a scrimmage ensued.

After chatting for a while with the girls, Grandma Merchant began to feel tired, and hearing the fourth watch sounded she asked the food to be cleared away, and told the servants they could have the left.“Let’s rest now,” she said, rising to her feet. “Tomorrow is still a holiday, and we have to get up early. We can enjoy ourselves again in the evening.”To know what happened the next day, read the following chapter.--[[User:Tang Qizhou|Tang Qizhou]] ([[User talk:Tang Qizhou|talk]]) 05:28, 6 June 2021 (UTC)

Grandma Merchant assumed that he must be tired, and felt his presence was spoiling the young people’s enjoyment. “There’s no need for you to stay here. You can go and have a rest,” she said. “We will sit up a little bit and leave, too.”Master Merchant responded several "yes" and forced himself to toast his mother once more before he withdrew. Back in his own apartment, he thought about it over and over again in his mind with a grievous sense.

As soon as he had gone, Grandma Merchant urged her grand-children, “Now relax and have some fun!”A word not finished, Precious Jade had already run up to the front of screen-lantern , pointing out his fingers and carelessly criticizing that this or that word was not good. He was prancing about like a monkey freed from its chain.“Why not sit down as you were before, and chat with us in a more civilized way?”said Mascara Jade. Splendid Phoenix, who had joined them now, interrupted, “you ought to have the master keeping you by his side all the time. I forgot to suggest that you should make up some riddles in his presence. If I had, I’m sure you will be in a cold sweat!”Precious Jade made a frantic grab at her and a scrimmage ensued.

After chatting for a while with the girls, Grandma Merchant began to feel tired, and hearing the fourth watch sounded she asked the food to be cleared away, and told the servants they could have the left.“Let’s rest now,” she said, rising to her feet. “Tomorrow is still a holiday, and we have to get up early. We can enjoy ourselves again in the evening.”To know what happened the next day, read the following chapter.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 07:47, 9 June 2021 (UTC)

=Téng Bìxiá 滕璧霞=
◎第二十三回西厢记妙词通戏语牡丹亭艳曲警芳心

话说贾元春自那日幸大观园回宫去后，便命将那日所有的题咏，命探春依
次抄录妥协，自己编次，叙其优劣，又令在大观园勒石，为千古风流雅事。因此
贾政命人各处选拔精工名匠，大观园磨石镌字，贾珍率领贾蓉、贾萍等监工。因
贾蔷又管理着文官等十二个女戏子并行头等事，不得空闲，因此只将贾菖、贾菱
唤来监工。一日烫蜡钉朱，动起手来。这也不在话下。

且说那个玉皇庙并达摩庵两处，一班的十二个小沙弥并十二个小道士，如
今挪出大观园来，贾政正想发到各庙去分住。不想后街上住的贾芹之母周氏，
正打算到贾政这边谋一个大小事件与儿子管管，也好弄些银钱使用，可巧听见
这边有事，便坐车来求凤姐。凤姐因见他素日不大拿班做势的，便依允了。想
了几句话，便回王夫人说：“这些小和尚道士，万不可打发到别处去，一时娘娘出
来，就要应承的。倘或散了，若再用时，可又费事。依我的主意，不如将他们都
送到家庙铁槛寺去，月间不过派一个人拿几两银子去买柴米就是了。说声用，
走去叫一声就来，一点儿不费事。”王夫人听了，便商之于贾政。贾政听了笑道：
“倒是提醒了我。就是这样。”即时唤贾琏。

After First Spring Merchant’s return to the Palace from her visit to Grand View Garden， she gave instructions that Seeking- Spring should copy out all the poems written that day for her to arrange in order of merit, because she wished them to be inscribed on the tablets in the Garden as a lasting memorial to that splendid occasion.Treasure Merchant accordingly ordered skilled artisans to be found to polish and engrave the stones under the supervision of Treasure Merchant, assisted by Prosperity Merchant and Merchant.As Rose Merchant had his hands full looking after the twelve actresses and their properties, he asked Jia Chang and Jia Ling to supervise the work instead.In due course wax was melted over the tablets and the poems were engraved in vermilion. But no more of this.The twenty-four young Buddhists and Taoists from the Dharma Convent and Jade Emperor’s Temple in the Garden had now been moved out, and Master Merchant had been thinking of sending them to various temples elsewhere.Word of this reached Talent Merchant`s mother Lady Zhou who lived in the street behind just as she had decided to look in Master Merchant’s house for some remunerative job, whether big or small, for her son. So she came by sedan-chair to enlist Xifeng’s help.As this woman was normally unassuming, Splendid Phoenix King agreed. Having thought out the right approach she told Lady King: “We mustn’t send away the little Buddhists and Taoists, because they’ll be needed next time Her Highness comes, and it would be hard to get them together again if once they’d been dispersed.My idea is to move them all to our family’s Iron Threshold Temple. Then all we need do is to send someone with a few taels of silver every month for their firewood and rice, and they can be fetched back if needed without any trouble.”Lady King passed on this proposal to her husband. “Quite right,” he agreed. “I’m glad you reminded me.” He sent for Lian Merchant.--[[User:Teng Bixia|Teng Bixia]] ([[User talk:Teng Bixia|talk]]) 07:01, 9 June 2021 (UTC)

=Wáng Chǔyí 王楚仪=
贾琏正同凤姐吃饭，一闻呼唤，放下饭便走。凤姐一把拉住，笑道：“你且
站住，听我说话，若是别的事，我不管；若是为小和尚小道士们的那事，好歹依我
这么着。”如此这般，教了一套话。贾琏笑道：“我不知道，你有本事你说去。”凤
姐听说，把头一梗，把筷子一放，腮上带笑不笑的瞅着贾琏道：“你当真，还是玩
话儿？”贾琏笑道：“西廊下五嫂子的儿子芸儿来求了我两三遭，要件事管管，我
应了，叫他等着。好容易出来这件事，你又夺了去。”凤姐儿笑道：“你放心，园子
东北角上，娘娘说了，还叫多多的种松柏树，楼底下还叫种些花草，等这件事出
来，我包管叫芸儿管这工程。”贾琏道：“果然这样，也倒罢了。只是昨儿晚上，我
不过是要改个样儿，你就扭手扭脚的。”凤姐听了，“嗤”的一声笑了，向贾琏啐了
一口，低下头便吃饭。

贾琏一径笑着去了。走到前面，见了贾政，果然为小和尚的事，贾琏便依
了凤姐的主意，说道：“看来芹儿倒大大的出息了，这件事，竟交与他去管办，横
竖照在里头的规侧，每月叫芹儿支领就是了。”贾政原不大理论这些小事，听贾
琏如此说，便依允了。贾琏回至房中告诉凤姐，凤姐即命人去告诉周氏，贾芹便
来见贾琏夫妻，感谢不尽。

Romance Merchant and Sister Phoenix were having their meal together. When the summons arrived, he put down his rice bowl at once and started to go out. “Wait a minute and listen to me!” She caught hold of his arm. “If this is some other business, that’s not my affair; but if it’s about those little novices, you must handle it in my way.” She told him then exactly what to say. Romance Merchant shook his head, laughing. “This is none of my business. If you’re so clever, go and ask uncle yourself.” Sister Phoenix threw back her head and laid down her chopsticks, staring at Romance Merchant with an icy smile. “Do you mean that, or are you joking?” He smiled, “Rue, the son of Fifth Sister-in-Law who lives in West Lane, has come several times begging me to find him a job, and I promised him I would if he would wait. Now here’s a job at last, but as usual you want to snatch it away.” Sister Phoenix smiled and said, “Don’t worry. Her Highness wants more pines and cypresses planted in the northeast corner of the Garden, as well as more flowers at the foot of the tower. When that job comes up, I promise to let Rue have it.” “All right then,” he chuckled. “But why were you so uncooperative last night when all I wanted was to try something different?” Sister Phoenix snorted with laughter and spat at him in mock disgust, then lowered her head and went on with her meal. Grinning broadly, Romance Merchant left. When he found that his uncle had indeed sent for him about the novices, taking his cue from his wife he suggested: “Celery seems to be shaping well. We might entrust this to him. He can just draw the allowance every month in the usual way.” Since Master Merchant never took much interest in such matters, he made no objection. As soon as Romance Merchant went back to tell Sister Phoenix, she sent a maid to notify Celery’s mother, and the young man came to thank them both profusely.
--[[User:Wang Chuyi|Wang Chuyi]] ([[User talk:Wang Chuyi|talk]]) 04:42, 9 June 2021 (UTC)

Romance Merchant and Sister Phoenix were having their meal together. As soon as the summons arrived, he put down his rice bowl at once and started to go out. “Wait a minute and listen to me!” She caught hold of his arm. “If this is some other business, that’s not my affair; but if it’s about those little novices, you’d better handle it in my way.” She told him then exactly how to do it. Romance Merchant shook his head, laughing, “This is none of my business. If you’re so clever, go and ask uncle yourself.” Sister Phoenix threw back her head and laid down her chopsticks, staring at Romance Merchant with an icy smile. “Do you mean that, or are you joking?” He smiled, “Rue, the son of Fifth Sister-in-Law who lives in West Lane, has come several times begging me to find a job for him, and I promised him I would if he would wait. Now here’s a job at last, but as usual you want to snatch it away.” Sister Phoenix smiled and said, “Don’t worry. Her Highness wants more pines and cypresses planted in the northeast corner of the Garden, as well as more flowers at the foot of the tower. When that job comes up, I promise to let Rue have it.” “All right then,” he chuckled. “But why were you so uncooperative last night when all I wanted was to try something different?” Sister Phoenix snorted with laughter and spat at him in mock disgust, then lowered her head and went on with her meal. Grinning broadly, Romance Merchant left. When he found that his uncle had indeed sent for him about the novices, taking his cue from his wife he suggested: “Celery seems to be shaping well. We might entrust this to him. He can just draw the allowance every month in the usual way.” Since Master Merchant never took much interest in such matters, he made no objection. As soon as Romance Merchant went back to tell Sister Phoenix, she sent a maid to notify Celery’s mother, and the young man came to thank them both profusely. —[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 06:44, 9 June 2021 (UTC)

=Wáng Jìngyí 王静怡=
凤姐又做情先支三个月的费用，叫他写了领字，贾琏
批票画了押，登时发了对牌出去，银库上按数发出三个月的供给来，白花花三百
两。贾芹随手拈了一块与掌平的人，叫他们“吃了茶罢”。于是命小厮拿了回
家，与母亲商议。登时，又雇几辆车子，至荣国府角门前，唤出二十四个人来，坐
上车子，一径往城外铁槛寺去了。当下无话。

如今且说那贾元春在宫中编《大观园题咏》之后，忽想起那园中的景致，自
从幸过之后，贾政必定敬谨封锁，不叫人进去，岂不辜负此园？况家中现有几个
能诗会赋的姊妹们，何不命他们进去居住，也不使佳人落魄，花柳无颜。却又想
宝玉自幼在姊妹丛中长大，不比别的兄弟，若不命他进去，又怕冷落了他，恐贾
母王夫人心上不喜，须得也命他进去居住方妥。命太监夏忠到荣府下一道谕：
“命宝钗等在园中居住，不可封锢，命宝玉也随进去读书。”

贾政、王夫人接了谕命，夏忠去后，便回明贾母，遣人进去各处收拾打扫，安
设帘幔床帐。别人听了，还犹自可，惟宝玉喜之不胜。正和贾母盘算，要这个，
要那个，忽见丫鬟来说：“老爷叫宝玉。”宝玉呆了半晌，登时扫了兴，脸上转了
色，便拉着贾母，扭的扭股儿糖似的，死也不敢去。

With a show of conferring further favors, Splendid Phoenix King‘begged’ Romance Merchant to allow Celery Merchant three months’ payment in advance. A receipt was written for this amount and Romance Merchant’s seal affixed to it, and there and then Celery Merchant was issued with a tally and sent to the counting-house to collect the money.
When the three hundred taels of shining silver had been weighed and counted and handed over, Celery Merchant picked up a piece at random and tossed it to the cashiers to ‘buy themselves a cup of tea with’. He had a boy to carry the money back home for him, and after taking counsel with his mother he hired a stout little donkey for himself to ride on and four or five covered mule-carts for the nuns, an~ conducting the carts round to the side gate of the Rongguo Mansion, he called forth the twenty-four little nuns and packed them all inside. Then off they set, with Celery Merchant on his donkey at the head of the procession, to the Temple of the Iron Threshold outside the city. And there we leave them.

First Spring’s editing of the Prospect Garden poems had given her a vivid recollection of the garden’s beauties. She was sure that her father, out of a zealous reverence for the Emperor and herself, would have kept it all locked and closed since her visit and would have allowed no one else to enter, and she felt this to be a waste and a shame—the more so when her family contained so many poetical young ladies who would have found inspiration in its scenery—not to mention the benefit their presence would have bestowed on the garden itself: for, as is well-known,

When lovely woman smiles not,
All Nature’s charms ate dead.

Assuredly, the girls must be allowed into the garden. It should become their home. And if the girls, why not Precious Jade? He had grown up in their midst. He was different from other boys. If he were not allowed into the garden as well, he would consider himself left out in the cold, and his distress would cause Lady Wang and Grandma Merchant to feel unhappy too. Unquestionably she should ask for him to be admitted along with the girls. Having reached this decision, she summoned the eunuch Faithfulness Summer and ordered him to convey the following Edict to Rongguo Mansion:

Precious Hairpin and the other young ladies of the household ate to reside in the Garden. The Garden is not to be kept closed. Precious Jade is to accompany the young ladies into the Garden and to continue his studies there.

The Edict was received by Master Merchant and Lady Wang. When Faithfulness Summer had gone, they reported it at once to Grandma Merchant and sent servants into the garden to sweep and prepare its buildings and rehang the blinds, portieres and bed-curtains in readiness for occupation.
No one was mote excited by the prospect of this move than Precious Jade. He was discussing it animatedly with Grandma Merchant (it was a discussion in which the words ‘I want’ recurred rather frequently) when suddenly a maid came in and announced that he was wanted by his father. At this bolt from the blue his countenance fell and all his animation drained away. Clinging to his grandmother with the gluey persistence of a toffee twist, he made it abundantly plain to her that he had no wish to obey.
--[[User:Wang Jingyi|Wang Jingyi]] ([[User talk:Wang Jingyi|talk]]) 17:02, 8 June 2021 (UTC)

=Wáng Qìnyú 王沁瑜=
贾母只得安慰他道：“好宝
贝，你只管去，有我呢，他不敢委屈了你。况你做了这篇好文章，想是娘娘叫你
进园去住，他吩咐你几句话，不过是怕你在里头淘气。他说什么，你只好生答应
着就是了。”一面安慰，一面唤了两个老嬷嬷来，吩咐：“好生带了宝玉去，别叫他
老子唬着他。”老姥嬷答应了。

宝玉只得前去，一步挪不了三寸，蹭到这边来。可巧贾政在王夫人房中商
议事情，金钏儿、彩云、彩凤、绣鸾、绣凤等众丫鬟都廊檐下站着呢，一见宝玉来，
都抿着嘴儿笑他。金钏一把拉着宝玉，悄悄的说道：“我这嘴上是才擦的香渍
的胭脂，你这会子可吃不吃了？”彩云一把推开金钏，笑道：“人家心里正不自在，
你还奚落他。趁这会子喜欢，快进去罢。”宝玉只得挨门进去。原来贾政和王
夫人都在里间呢。赵姨娘打起帘子，宝玉挨身而入，只见贾政和王夫人对坐在
炕上说话，地下一溜椅子，迎春、探春、惜春、贾环四人都坐在那里。一见他进
来，惟有探春、惜春和贾环站了起来。

贾政一举目见宝玉站在跟前，神彩飘逸，秀色夺人；又看见贾环人物委琐，
举止粗糙；忽又想起贾珠来。再看看王夫人只有这一个亲生的儿子，素爱如珍；
自己的胡须将已苍白，因这几件上，把平日嫌恶宝玉之心，不觉减了八九分。

Grandma Merchant comforted him, “Go, my sweeter. I won’t let him be hard on you. Besides, it’s because you wrote so well that the empress has said you should move into the garden. And your father only warns you to behave yourself when you are in the garden. Just say “yes” to whatever he tells you.” When comforting him, Grandma Merchant called two old nurses and ordered them, “Take Precious Jade there and don’t let his father frighten him.” The nurses complied.
Precious Jade had to left, with dragging steps. It so happened that Master Merchant was discussing some business in Lady King’s room, while her maids Golden Bracelet, Silver Bracelet, Sun Cloud, Embroidered Bluebird, Embroidered Phoenix were standing outside under the eaves. When they saw Precious Jade, they smiled knowingly. Golden Bracelet caught Precious Jade and whispered, “I’ve just put some rouge o my lips. Do you want to taste it now?” Sun Cloud pushed her away and laughed, “Don’t tease him when he is felling low. Go in quickly, while the master is in a good mood.” Precious Jade had to sidle in and Master Merchant and Lady King were in the inner room. Concubine Zhao raised the portiere. Precious Jade entered with a bow. Master Merchant and Lady King was talking on the bed, sating facing each other, while Spring Pleasure, Seeking Spring, Cherishing Spring, Ring Merchant sat on a row of chair below. Seeing his entering, only Seeking Spring, Cherishing Spring and King Merchant got up.
Master Merchant glanced up and saw Precious Jade standing before him. The boy’s striking charm and air of distinction contrasted with King Merchant vulgar, common appearance that he was reminded of his dead son, Bead Merchant. He glanced at Lady King who had only this one son left and doted on him. As for himself, his bread was already turning gray. Because of these, his abominate to Precious Jade reduced.

Grandma Merchant comforted him, “Go, my sweetheart. I won’t let him punish you. Besides, it’s because you wrote so well that the empress has said you should move into the garden. And your father only warns you to behave yourself when you are in the garden. Just say “yes” to whatever he tells you.” When comforting him, Grandma Merchant called two old nurses and ordered them, “Take Precious Jade there and don’t let his father frighten him.” The nurses complied.
Precious Jade had to left, with dragging steps. It so happened that Master Merchant was discussing some business in Lady King’s room, while her maids Golden Bracelet, Silver Bracelet, Sun Cloud, Embroidered Bluebird, Embroidered Phoenix were standing outside under the eaves. When they saw Precious Jade, they smiled knowingly. Golden Bracelet caught Precious Jade and whispered, “I’ve just put some rouge o my lips. Do you want to taste it now?” Sun Cloud pushed her away and laughed, “Don’t tease him when he is felling low. Go in quickly, while the master is in a good mood.” Precious Jade had to sidle in and Master Merchant and Lady King were in the inner room. Concubine Zhao raised the portiere. Precious Jade entered with a bow. Master Merchant and Lady King was talking on the bed, sating facing each other, while Spring Pleasure, Seeking Spring, Cherishing Spring, Ring Merchant sat on a row of chair below. Seeing his entering, only Seeking Spring, Cherishing Spring and King Merchant got up.
Master Merchant glanced up and saw Precious Jade standing before him. The boy’s striking charm and air of distinction contrasted with King Merchant vulgar, common appearance that he was reminded of his dead son, Bead Merchant. He glanced at Lady King who had only this one son left and doted on him. As for himself, his bread was already turning gray. Because of these, his abominate to Precious Jade reduced.--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:10, 9 June 2021 (UTC)

=Wáng Zǐhán 王子涵=
半
晌说道：“娘娘吩咐你说，日日在外游嬉，渐次疏懒，如今叫禁管你同姐妹们在园
里读书，你可好生用心学习；再不守分安常，你可仔细！”宝玉连连答应了几个
“是”。王夫人便拉他在身边坐下。他姊弟三人依旧坐下，王夫人摸索着宝玉
的脖项说道：“前儿的丸药都吃完了没有？”宝玉答应道：“还有一丸。”王夫人
说：“明早再取十丸来，天天临睡时候，叫袭人伏侍你吃了再睡。”宝玉道：“自从
太太吩咐了，袭人天天临睡打发我吃的。”贾政便问道：“谁叫‘袭人’？”王夫人
道：“是个丫头。”贾政道：“丫头不拘叫个什么罢了，是谁起这样刁钻的名宇？”
王夫人见贾政不自在了，便替宝玉掩饰道：“是老太太起的。”贾政道：“老太太
如何晓得这样的话？一定是宝玉。”宝玉见瞒不过，只得起身回道：“因素日读
诗，曾记古人有句诗云：‘花气袭人知昼暖。’因这丫头姓‘花’，便随意起的。”王
夫人忙向宝玉说道：“你回去改了罢。老爷也不用为这小事生气。”贾政道：“其
实也无妨碍，不用改。只可见宝玉不务正，专在这些浓词艳诗上做工夫。”说毕，
断喝了一声：“作孽的畜生，还不出去！”王夫人也忙道：“去罢，去罢！怕老太太
等吃饭呢。”

After a pause he said: “Her Highness has ordered you to study and practise calligraphy with the girls in the Garden, instead of fooling around outside and neglecting your studies. Mind that you apply yourself there to your lessons. If you go on misbehaving, watch out!”

“Yes, sir,” agreed Precious Jade hastily. Then his mother drew him over to sit beside her while Jia Huan and the other two sat down again.

Stroking her son’s neck fondly Lady Wang asked:“Have you finished those pills prescribed for you the other day?”

“All but one.”

“You must fetch ten more tomorrow. Get Aroma to see that you take one each evening at bedtime.”

“Ever since you ordered it, madam, Aroma has been giving me one every evening.”

“Who is Aroma?” demanded Master Merchant.

“One of the maids,” his wife told him.

“A maid can be called anything, I suppose. But who thought up such a suggestive name for her?”

To shield Precious Jade from his father’s displeasure Lady Wang said, “It was the old lady’s idea.”

“Such a name would never occur to the old lady. This must have been Precious Jade’s doing.”

Since there was no hiding the truth Precious Jade rose to confess: “I remembered that line of an old poem: When the fragrance of flowers assails men we know the day is warm. As this maid’s surname is Hua (Flower), I called her Aroma.”

“You must change it when you go back,” put in Lady Wang quickly. Then she turned to her husband. “Don’t be angry, sir, over such a little thing.”

“It doesn’t really matter, there’s no need to change it. But this shows that instead of studying properly Precious Jade gives all his time to romantic trash.”

Then he said sternly to Precious Jade: “What are you standing there for, you unnatural monster?”

“Run along, “urged Lady Wang. “The old lady is probably waiting for you for supper.
--[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 09:02, 10 June 2021 (UTC)

After a pause he said: “Her Highness has ordered you to study and practise calligraphy with the girls in the Garden, instead of fooling around outside and neglecting your studies. Mind that you apply yourself there to your lessons. If you go on misbehaving, watch out!”
“Yes, sir,” agreed Precious Jade hastily. Then his mother drew him over to sit beside her while the other two sat down again. Stroking her son’s neck fondly Lady Wang asked:“Have you finished those pills prescribed for you the other day?” “All but one.” “You must fetch ten more tomorrow. Get Aroma to see that you take one each evening at bedtime.”
“Ever since you ordered it, madam, Aroma has been giving me one every evening.” “Who is Aroma?” demanded Master Merchant. “One of the maids,” his wife told him. “A maid can be called anything, I suppose. But who thought up such a suggestive name for her?” To shield Precious Jade from his father’s displeasure Lady Wang said, “It was the old lady’s idea.” “Such a name would never occur to the old lady. This must have been Precious Jade’s doing.” Since there was no hiding the truth Precious Jade rose to confess: “I remembered that line of an old poem: When the fragrance of flowers assails men we know the day is warm. As this maid’s surname is Hua (Flower), I called her Aroma.” “You must change it when you go back,” put in Lady Wang quickly. Then she turned to her husband. “Don’t be angry over such a little thing.” “It doesn’t really matter, there’s no need to change it. But this shows that instead of studying properly Precious Jade gives all his time to romantic trash.” Then he said sternly to Precious Jade: “What are you standing there for, you unnatural monster?” “Run along, “urged Lady Wang. “The old lady is probably waiting for you for supper. ”--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 03:14, 14 June 2021 (UTC)

=Wǔ Sīyí 伍斯仪=
宝玉答应了，慢慢的退出去；向金钏儿笑着伸伸舌头，带着两个老嬷嬷，一
溜烟去了。刚至穿堂门前，只见袭人倚门而立，见宝玉平安回来，堆下笑来，问
道：“叫你做什么？”宝玉告诉：“没有甚么，不过怕我进园淘气，吩咐吩咐。”一面
说，一面回至贾母跟前，回明原委。只见黛玉正在那里，宝玉便问他“你住在那
一处好？”黛玉正盘算这事，忽见宝玉一问，便笑道：“我心里想着潇湘馆好，我爱
那几竿竹子，隐着一道曲栏，比别处幽静。”宝玉听了，拍手笑道：“正合我的主
意！我也要叫你那里去住，我就住怡红院。咱们两个又近，又都清幽。”

二人正计议，就有贾政遣人来回贾母，说：“二月二十二日是好日子，哥儿
姐儿们好搬进去的。这几日内遣人进去分派收拾。”薛宝钗住了蘅芜院，林黛
玉住了潇湘馆，贾迎春住了缀锦楼，探春住了秋掩书斋，惜春住蓼风轩，李纨住
丁稻香村，宝玉住怡红院。每一处添两个老嬷嬷，四个丫头；除各人奶娘亲随丫
头外，另有专管收拾打扫的。至二十二日，一齐进去，登时园内花招绣带，柳拂
香风，不似前番那等寂寞了。

闲言少叙。且说宝玉自进园来，心满意足，再无别项可生贪求之心，每日
只和姊妹丫鬟们一处，或读书，或写字，或弹琴下棋，作画吟诗，以至描鸾刺凤，
斗草簪花，低吟情唱，拆字猜枚，无所不至，倒也十分快意。

Precious Jade answered and slowly withdrew. He grinned and stuck out his tongue at Golden and ran away swiftly with the two nurses. While He just arrived at the entrance hail, he found Aroma leaning in the doorway. Her face lit up when she saw that Precious Jade was back safely, and she asked, “What did your father tell you to do?” “Nothing much. Just to warn me not to go to the Garden and behave myself.” He answered. Having by now reached the Lady Dowager’s room he told her what had happened. Then he saw Mascara Jade was here and asked, “ in which part of the Garden would you like to live?” Mascara Jade had been thinking this over and she smiled and answered: “I’d like to live in Bamboo Lodge. I love those bamboos half hiding the winding balustrade, and the place is quieter than anywhere else.” “Just what I thought!” Precious Jade clapped his hands and laughed. “That’s where I want you to live. I am in Happy Red Court, we are close and we can enjoy the quietness.”
At this point Master Merchant sent a servant to report to the Lady Dowager that the twenty-second of the second month would be an auspicious day for the move into the Garden, and the young people’s quarters would be ready by then. Precious Hairpin Marshgrass lived in Asarum Garden, Mascara Jade Bamboo Lodge, Spring Pleasure Merchant Variegated Splendour of tower, Seeking Spring Merchant the Studio of Autumn Freshness, Spring Cherish Merchant Smartweed Breeze Cot, Silk Plum Paddy-Sweet Cottage, and Precious Jade Happy Red Court. Two old nurses and four maids were assigned to each apartment in addition to the occupant’s nanny and own attendants, and there were other servants whose sole duty was cleaning and sweeping. On the twenty-second they all moved in and at once the Garden gay with flowers and willows ruffled by a fragrant breeze from embroidered sashes lost its former air of desolation.
But no need to describe this in detail. Precious Jade found life in the Garden all he could wish. He asked nothing better than to spend every day with his sisters, cousins and maids, reading, writing, strumming the lute, playing chess, painting, chanting poems, watching the girls embroider their phoenix patterns, enjoying the flowers, softly singing, guessing riddles or playing the guess-fingers game. He had a carefree life here.”

=Wú Xīnxīn 吴欣欣=
他曾有几首四时即
事诗，虽不算好，却是真情真景。
“春夜即事”云：
霞绡云幄任铺陈，隔巷蛙声听未真。枕上轻寒窗外雨，眼前春色梦中
人。盈盈烛泪因谁泣，点点花愁为我嗔。自是小鬟娇懒惯，拥衾不耐笑言
频。

“夏夜即事”云：
倦绣佳人幽梦长，金笼鹦鹉唤茶汤。窗明麝月开宫镜，室霭檀云品御
香。琥珀杯倾荷露滑，玻璃槛纳柳风凉。水亭处处齐纨动，帘卷朱楼罢晓
妆。

“秋夜即事”云：
绛芸轩里绝喧哗，桂魄流光浸茜纱。苔锁石纹容睡鹤，井飘桐露湿栖
鸦。抱衾婢至舒金凤，倚槛人归落翠花。静夜不眠因酒渴，沉烟重拨索烹
茶。

“冬夜即事”云：
梅魂竹梦已三更，锦罽鹴衾睡未成。松影一庭惟见鹤，梨花满地不聞
莺。女奴翠袖诗怀冷，公子金貂酒力轻。却喜侍儿知试茗，扫将新雪及时
烹。

不说宝玉闲吟，且说这几首诗，当时有一等势利人，见是荣国府十二三岁
的公子做的，抄录出来，各处称颂；再有等轻薄子弟，爱上那风流妖艳之句，也写
在扇头壁上，不时吟哦赏赞。因此上竟有人来寻诗觅字，倩画求题的。宝玉一
发得意，每日家做这些外务。

谁想静中生动，忽一日，不自在起来，这也不好，那也不好，出来进去，只是
闷闷的。园中那些女孩子，正是混沌世界天真烂熳之时，坐卧不避，嬉笑无心，
那里知宝玉此时的心事？

From his pen emanate four ballads on the times of the four seasons， which， although they could not be looked upon as first-rate， afford anyhow a correct idea of his sentiments， and a true account of the scenery.
the ballad on the spring night runs as follows：

the silken curtains， thin as russet silk， at random are spread out. The croak of frogs from the adjoining lane but faintly strikes the ear. The pillow a slight chill pervades， for rain outside the window falls. The landscape， which now meets the eye， is like that seen in dreams by man. In plenteous streams the candles' tears do drop， but for whom do they weep？ Each particle of grief felt by the flowers is due to anger against me. It's all because the maids have by indulgence indolent been made. The cover over me I'll pull， as I am loth to laugh and talk for long.

This is the description of the aspect of nature on a summer night：

the beauteous girl， weary of needlework， quiet is plunged in a long dream. The parrot in the golden cage doth shout that it is time the tea to brew. The lustrous windows with the musky moon like open palace-mirrors look； The room abounds with fumes of sandalwood and all kinds of imperial scents. From the cups made of amber is poured out the slippery dew from the lotus. The banisters of glass， the cool zephyr enjoy flapped by the willow trees. In the stream-spanning kiosk， the curtains everywhere all at one time do wave. In the vermilion tower the blinds the maidens roll， for they have made the night's toilette.
the landscape of an autumnal evening is thus depicted：

In the interior of the Chiang Yuen house are hushed all clamorous din and noise. The sheen， which from Selene flows， pervades the windows of carnation gauze. The moss-locked， streaked rocks shelter afford to the cranes， plunged in sleep. The dew， blown on the t'ung tree by the well， doth wet the roosting rooks. Wrapped in a quilt， the maid comes the gold phoenix coverlet to spread. The girl， who on the rails did lean， on her return drops the kingfisher flowers！ This quiet night his eyes in sleep he cannot close， as he doth long for wine. The smoke is stifled， and the fire restirred， when tea is ordered to be brewed.

the picture of a winter night is in this strain：

the sleep of the plum trees， the dream of the bamboos the third watch have already reached. Under the embroidered quilt and the kingfisher coverlet one can't sleep for the cold. The shadow of fir trees pervades the court， but cranes are all that meet the eye. Both far and wide the pear blossom covers the ground， but yet the hawk cannot be heard. The wish， verses to write， fostered by the damsel with the GREen sleeves， has waxed cold. The master， with the gold sable pelisse， cannot endure much wine. But yet he doth rejoice that his attendant knows the way to brew the tea. The newly-fallen snow is swept what time for tea the water must be boiled.

But putting aside Precious Jade Merchant， as he leisurely was occupied in scanning some verses， we will now allude to all these ballads. There lived， at that time， a class of people， whose wont was to servilely court the influential and wealthy， and who， upon perceiving that the verses were composed by a young lad of the Jung Kuo mansion， of only twelve or thirteen years of age， had copies made， and taking them outside sang their praise far and wide. There were besides another sort of light-headed young men， whose heart was so set upon licentious and seductive lines， that they even inscribed them on fans and screen-walls， and time and again kept on humming them and extolling them. And to the above reasons must therefore be ascribed the fact that persons came in search of stanzas and in quest of manuscripts， to apply for sketches and to beg for poetical compositions， to the increasing satisfaction of Precious Jade Merchant， who day after day， when at home， devoted his time and attention to these extraneous matters. But who would have anticipated that he could ever in his quiet seclusion have become a prey to a spirit of restlessness？ Of a sudden， one day he began to feel discontent， finding fault with this and turning up his nose at that； and going in and coming out he was simply full of ennui. And as all the girls in the garden were just in the prime of youth， and at a time of life when， artless and unaffected， they sat and reclined without regard to retirement， and disported themselves and joked without heed， how could they ever have come to read the secrets which at this time occupied a place in the heart of Precious Jade Merchant？

不说宝玉闲吟But putting aside Precious Jade Merchant， as he leisurely was occupied in scanning some verses， we will now allude to all these ballads.
But putting aside Precious Jade's casual writing--[[User:Yao Yang|Yao Yang]] ([[User talk:Yao Yang|talk]]) 15:42, 14 June 2021 (UTC)

=Yāo Yáng 么阳=
那宝玉心内不自在，便懒在园内，只在外头鬼混，却又
痴痴的。茗烟见他这样，因想与他开心，左思右想，皆是宝玉玩烦了的，只有这
件，宝玉不曾见过。想毕，便走到书坊内，把那古今小说，并那飞燕、合德、武则
天、杨贵妃的“外传”与那传奇角本，买了许多来引宝玉。宝玉一看，如得珍宝。
茗烟又嘱咐道：“不可拿进园去，若叫人知道了，我就‘吃不了兜着走’呢。”宝玉
那里肯不拿进去？踟蹰再四，单把那文理雅道些的，拣了几套进去，放在床顶
上，无人时方看；那粗俗过露的，都藏于外面书房内。

那日正当三月中浣，早饭后，宝玉携了一套《会真记》，走到沁芳闸桥那边
桃花底下一块石上坐着，展开《会真记》，从头细看。正看到“落红成阵”，只见
一阵风过，树上桃花吹下一大斗来，落得满身满书满地皆是花片。宝玉要抖将
下来，恐怕脚步践踏了，只得兜了那花瓣，来至池边，抖在池内。那花瓣浮在水
面，飘飘荡荡，竟流出沁芳闸去了。

回来只见地下还有许多花瓣，宝玉正踟蹰间，只听背后有人说道：“你在这
里做什么？”宝玉一回头，却是林黛玉来了：肩上担着花锄，花锄上挂着纱囊，手
内拿着花帚。宝玉笑道：“好，好，来把这个花扫起来，撂在那水里去罢。我才撂
了好些在那里呢。”
That Precious Jade was uncomfortable in his heart, so he stayed lazily in the garden, only fooling around outside, but he was as in a trance. And Tealeaf saw him like this. In order to make him happy，she racked her brains：Precious Jade was enough of all the playing things，only this one，Precious Jade had never seen it before. After thinking about it, she went to the bookstore and bought Precious Jade a lot of ancient and modern novels, along with the "unofficial biographies"of Zhao Flying Swallow, Zhao Virtue, Empress Wu Zetian, and the Imperial Concubine Yang, and the romantic novels. Upon reading these books, Precious Jade was as if gaining the most precious treasures. Tealeaf again ordered: "Don't take it into the garden. If someone knows it, I'll be in real trouble."But would Precious Jade be willing not to bring the book into the garden？After hesitating four more times, he picked up only a few sets of the more highbrow ones, and put them on the top of the bed so that he can read them when there's no one else; the vulgar and indecent ones were all hidden in the outside study.
That day was the middle of March. After breakfast, Baoyu brought a set of "The Story of Huizheng" and walked to the Qinfang Gate Bridge. Sitting on a stone under the peach trees, he opened "The Story of Huizheng" and carefully read it from the beginning. When he was seeing the "falling red（flowers）was piled"，a gust of wind passed, blowing down a big bucket of peach blossoms from the tree and Precious Jade’s whole body ，the entire ground and book were covered with flowers. Precious Jade was about to shake off the flowers, but he was afraid that his footsteps would trample them on, so he had to take the petals in clothes, come to the edge of the pool, and shook them into the pool. The petals floated on the water, drifting, and flowed out of the Qinfang Gate. When he came back, he found there were many petals in the ground again. While Precious Jade was hesitating what to do with these petals，he heard someone behind him say: "What are you doing here?" Precious Jade turned around and found that was Mascara Jade，who came with a flower hoe on her shoulder, and a gauze-bag hung on that hoe，a flower broom was held in her hand. Precious Jade smiled and said: "Well, well, come and sweep these flowers up and put them in the water. I have just thrown lots of them there."

That Precious Jade was uncomfortable in his heart, so he stayed lazily in the garden, only fooling around outside, but he was as in a trance. And Tealeaf saw him like this. In order to make him happy，she racked her brains：Precious Jade was enough of all the playing things，only this one，Precious Jade had never seen it before. After thinking about it, she went to the bookstore and bought Precious Jade a lot of ancient and modern novels, along with the "unofficial biographies" of Flying Swallow Zhao, Virtue Zhao, Choice of Heaven Military, and the Imperial Concubine Yang, and the romantic novels. Upon reading these books, Precious Jade was as if gaining the most precious treasures. Tea Leaf again ordered: "Don't take it into the garden. If someone knows it, I'll be in real trouble." But would Precious Jade be willing not to bring the book into the garden？After hesitating four more times, he picked up only a few sets of the more highbrow ones, and put them on the top of the bed so that he can read them when there's no one else; the vulgar and indecent ones were all hidden in the outside study.
That day was the middle of March. After breakfast, Precious Jade brought a set of "The Story of Huizheng" and walked to the Intriguing Fragrance Gate Bridge. Sitting on a stone under the peach trees, he opened "The Story of Huizheng" and carefully read it from the beginning. When he was seeing the "falling red（flowers）was piled"，a gust of wind passed, blowing down a big bucket of peach blossoms from the tree and Precious Jade’s whole body ，the entire ground and book were covered with flowers. Precious Jade was about to shake off the flowers, but he was afraid that his footsteps would trample them on, so he had to take the petals in clothes, come to the edge of the pool, and shook them into the pool. The petals floated on the water, drifting, and flowed out of the Intriguing Fragrance Gate. When he came back, he found there were many petals in the ground again. While Precious Jade was hesitating what to do with these petals，he heard someone behind him say: "What are you doing here?" Precious Jade turned around and found that was Mascara Jade，who came with a flower hoe on her shoulder, and a gauze-bag hung on that hoe，a flower broom was held in her hand. Precious Jade smiled and said: "Well, well, come and sweep these flowers up and put them in the water. I have just thrown lots of them there."
----[[User:Yi Mingxia|Yi Mingxia]] ([[User talk:Yi Mingxia|talk]])

=Yì Míngxiá 易明霞=
黛玉道：“撂在水里不好，你看这里的水干净，只一流出去，有
人家的地方什么没有？仍旧把花遭塌了。那畸角上我有一个花冢，如今把他扫
了，装在选绢袋里，埋在那里，日久随土化了，岂不干净。”

宝玉听了，喜不自禁，笑道：“待我放下书，帮你来收拾。”黛玉道：“什么
书？”宝玉见问，慌的藏之不迭，便说道：“不过是《中庸》《大学》。”黛玉道：“你又
在我跟前弄鬼。趁早儿给我瞧瞧，好多着呢。”宝玉道：“妹妹，要论你，我是不怕
的。你看了，好歹别告诉别人。真正这是好文章！你若看了，连饭也不想吃
呢。”一面说，一面递了过去。黛玉把花具放下，接书来瞧，从头看去，越看越爱，
不顿饭时，将十六出俱已看完。但觉词句警人，余香满口。虽看完了，却只管出
神，心内还默默记诵。宝玉笑道：“妹妹，你说好不好？”林黛玉笑道：“果然有
趣。”宝玉笑道：“我就是个‘多愁多病的身’，你就是那‘倾国倾城的貌’。”林黛
玉听了，不觉带腮连耳通红，登时竖起两道似蹙非蹙的眉，瞪了两只似睁非睁的
眼，桃腮带怒，薄面含嗔，指着宝玉道：“你这该死的胡说！好好的，把这淫词艳
曲弄了来，说这些混帐话来欺负我。我告诉舅舅、舅母去！”说到“欺负”二字，
就把眼圈儿红了，转身就走。
‘It isn’t a good idea to tip them in the water,’ said Mascara Jade Forest. ‘The water you see here is clean, but farther on beyond the weir, where it flows past people’s houses, there are all sorts of muck and impurity, and in the end they get spoiled just the same. In that corner over there I’ve got a grave for the flowers, and what I’m doing now is sweeping them up and putting them in this silk bag to bury them there, so that they can gradu¬ally turn back into earth. Isn’t that a cleaner way of disposing of them?’
Precious Jade was full of admiration for this idea.
‘Just let me put this book somewhere and I’ll give you a hand.’
‘What book?’ said Mascara Jade Forest.
‘Oh... The Doctrine of the Mean and The Greater Learning,’ he said, hastily concealing it.
‘Don’t try to fool me!’ said Mascara Jade Forest. ‘You would have done much better to let me look at it in the first place, instead of hiding it so guiltily.’
‘In your case, coz, I have nothing to be afraid of;’ said Bao-yu; ‘but if I do let you look, you must promise not to tell anyone. It’s marvellous stuff. Once you start reading it, you’ll even stop wanting to eat!’
He handed the book to her, and Mascara Jade put down her things and looked. The more she read, the more she liked it, and before very long she had read several acts. She felt the power of the words and their lingering fragrance. Long after she had finished reading, when she had laid down the book and was sitting there rapt and silent, the lines continued to ring on in her head.
‘Well,’ said Precious Jade, ‘is it good?’
Mascara Jade smiled and nodded.
Precious Jade laughed:

‘How can I, full of sickness and of woe,
Withstand that face which kingdoms could o’erthrow?’

Mascara Jade reddened to the tips of her ears. The eyebrows that seemed to frown yet somehow didn’t were raised now in anger and the lovely eyes flashed. There was rage in her crimson cheeks and resentment in all her looks.
‘You’re hateful!’ - she pointed a finger at him in angry accusal — ‘deliberately using that horrid play to take advantage of me. I’m going. straight off to tell Uncle and Aunt!’
At the words ‘take advantage of me’ her eyes filled with tears, and as she finished speaking she turned from him and began to go.

"It isn’t a good idea to tip them in the water," said Mascara Jade Forest. "The water you see here is clean, but farther on beyond the weir, where it flows past people’s houses, there are all sorts of muck and impurity, and in the end they get spoiled just the same. In that corner over there I’ve got a grave for the flowers, and what I’m doing now is sweeping them up and putting them in this silk bag to bury them there, so that they can gradually turn back into earth. Isn’t that a cleaner way of disposing of them?" Precious Jade was full of admiration for this idea. "Just let me put this book somewhere and I’ll give you a hand." "What book?" said Mascara Jade Forest. "Oh... The Doctrine of the Mean and The Greater Learning," he said, hastily concealing it. "Don’t try to fool me!" said Mascara Jade Forest, "You'd better let me look at it in the first place, instead of hiding it so guiltily." "In your case, I have nothing to be afraid of," said Precious Jade, "but if I do let you look, you must promise not to tell anyone. It’s marvellous stuff. Once you start reading it, you’ll even stop wanting to eat!" He handed the book to her, and Mascara Jade put down her things and looked at it. The more she read, the more she liked it, and before very long she had read several acts. She felt the power of the words and their lingering fragrance. Long after she had finished reading, when she had laid down the book and was sitting there rapt and silent, the lines continued to ring on in her head. "Well," said Precious Jade, "is it good?" Mascara Jade smiled and nodded. Precious Jade laughed, "How can I, full of sickness and of woe, withstand that face which kingdoms could overthrow?"
Mascara Jade reddened to the tips of her ears. The eyebrows that seemed to frown yet somehow didn’t were raised now in anger and the lovely eyes flashed. There was rage in her crimson cheeks and resentment in all her looks. "You’re hateful!"— she pointed a finger at him in angry accusal — "deliberately using that horrid play to take advantage of me. I’m going. straight off to tell Uncle and Aunt!" At the words ‘take advantage of me’ her eyes filled with tears, and as she finished speaking she turned from him and began to go.--[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 23:24, 8 June 2021 (UTC)

=Yuán Jìng 袁静=
宝玉着了忙，向前拦住道：“好妹妹，千万饶我这一遭，原是我说错了。若
有心欺负你，明儿我掉在池子里，叫个癞头鼋吃了去，变个大忘八，等你明儿做
了‘一品夫人’病老归西的时候，我往你坟上替你驼一辈子碑去。”说的林黛玉
“扑嗤”的一声笑了，一面揉着眼，一面笑道：“一般唬的这么个调儿，还只管胡
说。呸，原来也是个‘银样蜡枪头’。”宝玉听了，笑道：“你说说，你这个呢？我
也告诉去。“林黛玉笑道：“你说你会‘过目成诵’，难道我就不能‘一目十行’
么？”宝玉一面收书，一面笑道：“正经快把花埋了罢，别提那些个了。”二人便收
拾落花。

正才掩埋妥协，只见袭人走来，说道：“那里没找到？摸在这里来。那边大
老爷身上不好，姑娘们都过去请安，老太太叫打发你去呢，快回去换衣服罢。”宝
玉听了，忙拿了书，别了黛玉，同袭人回房换衣不提。

这里林黛玉见宝玉去了，听见众姐妹也不在房中，自己闷闷的。正欲回
房，刚走到梨香院墙角外，只听见墙内笛韵悠扬，歌声婉转，林黛玉便知是那十
二十女孩子演习戏文。
Precious Jade got alarmed and stopped her, saying, "Dear sister, please forgive me for this time. I has said wrong words. If I meant to insult you, I'll fall into the pond tomorrow and let the tortoise with scabby-head swallow me. Then I will become into a turtle. And when you get the first rank of lady and pass away, I will bear the stone tablet to your grave all my life. " Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, "You are so easy to scare, and you still talk nonsense. ' You are nothing but a flowerless sprout. You are also a lead spearhead that looks like silver'." Precious Jade laughed, "You said this, and I'll tell on you, too." Jade Forest said, " You said you can read once and memorize a passage. Why can't I read ten lines at one glance. " Precious Jade laughed as putting away books, "Don't go on saying it. Let's keep hurrying the flowers. " As soon as they finished burrying, Aroma came and said, "You are here. I'very been looking for you. The elder Master feels unwell, all the ladies gone to inquire after his health. The old lady asks you to go. Come back and get dressed. " Precious Jade then took his books, said goodbye to Jade Forest and went back to his room with Aroma. Since Precious Jade has gone and the other girls are all out, Jade Forest felt glum. When she decided to go back her room, she heard melodious fluting and sweet singing over the wall of Pear Fragrance Court. And she got to know that the twelve girls are practicing performing operas. --[[User:Yuan Jing|Yuan Jing]] ([[User talk:Yuan Jing|talk]]) 01:20, 6 June 2021 (UTC)

Precious Jade got alarmed and stopped her, saying, "Dear sister, please forgive me for this time. I have said wrong words. If I mean to insult you, I'll fall into the pond tomorrow letting the tortoise with scabby-head swallow me. Then I will become into a turtle. And when you get the first rank of lady and pass away, I will bear the stone tablet to your grave all my life. " Mascara Jade Forest burst into laughter after hearing that. She wiped her eyes and said, "You are so easy to scare, and you still talk nonsense. ' You are nothing but a flowerless sprout. You are also a lead spearhead that looks like silver'." Precious Jade laughed, "You said this, and I'll tell on you, too." Mascara Jade said, " You said you can read once and memorize a passage. Why can't I read ten lines at one glance. " Precious Jade laughed as putting away books, "Don't go on saying it. Let's keep hurrying the flowers. " As soon as they finished burrying, Aroma came and said, "You are here. I've been looking for you. The elder Master feels unwell, and all the ladies gone to inquire after his health. The old lady asks you to go. Come back and get dressed. " Precious Jade then took his books, said goodbye to Mascara Jade and went back to his room with Aroma. Since Precious Jade has gone and the other girls are all out, Mascara Jade felt glum. When she decided to go back her room, she heard melodious fluting and sweet singing over the wall of Pear Fragrance Court. And she got to know that the twelve girls are practicing performing operas.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 05:34, 9 June 2021 (UTC)

=Zhào Kē 赵轲 Mr.=
虽未留心去听，偶然两句吹到耳内，明明白白一字不落
道：“原来是姹紫嫣红开遍，似这般，都付与断井颓垣。”林黛玉听了，倒也十分感
慨缠绵，便止步侧耳细听，又唱道是：“良辰美景奈何天，赏心乐事谁家院？”听了
这两句，不觉点头自叹，心下自思：“原来戏上也有好文章，可惜世人只知看戏，
未必能领略其中的趣味。”想毕，又后悔不该胡想，耽误了听曲子。再听时，恰唱
到：“只为你如花美眷，似水流年……”黛玉听了这两句，不觉心动神摇。又听
道“你在幽闺自怜”等句，越发如醉如痴，站立不住，便一蹲身坐在一块山子石
上，细嚼“如花美眷，似水流年”八个字的滋味。忽又想起前日见古人诗中有
“水流花谢两无情”之句，再词中又有“流水落花春去也，天上人间”之句，又兼
方才所见《西厢记》中“花落水流红，闲愁万种”之句，都一时想起来，凄聚在一
处。仔细忖度，不觉心痛神驰，眼中落泪。正没个开交，忽觉背后有人击他一
下，及回头看时，原来是个女子，未知是谁，下回分解。

Though she did not pay so much attention, she still caught all the words clearly according to those sentences happened to moving into her ears. It said, “It turns out that those flowers are booming with all kinds of colors, but all of such things are all burned into ruins.” Mascara Jade Forest heard that, filled with a thousand regrets. So she stopped and listen more carefully, and then got another sentence that “There is a pleasant day coupled with a fine landscape but I am not in the mood to admire it; in whose house there are those things happened have their mind relaxed and joyful?” Mascara Jade Forest could not help nod and sigh after those two sentences. She muse, “So actually there are some perfect articles in dramas. However, ordinary people are only able to watch shows and get no awareness of such fun.” At the next moment she regretted for her conjectures with blindness and disorder, which wasted her time of watching the drama. When her attention was back, she heard that “Only for your flowers-like beauty but years pass by quickly… ” Mascara Jade felt a sense of touch after hearing that. Then there came other words like “You are lamenting yourself lonely in your secluded boudoir.” and so on, which caused her feeling of indulging. Failing to keep standing, she sat on a stone and considered the word “Only for your flowers-like beauty but years pass by quickly… ” carefully. Suddenly she reminded that the day before yesterday she happened to see sentences in predecessor’s poems, which are that “Water runs and flowers fade away, which are both ruthless.” and “The spring has gone just like water runs away and flowers fade away; the past is like heaven but today only leaves ruins.” Together with the sentence listened just now in Romance of the Western Chamber, “When flowers fell into running water it becomes red, which bring thousands of melancholy to people.” she finally got all those sentences.Pitifully and sorrowfully, she shed tears after her considering. At this time, there was a person who suddenly touched her. She turned her head and figured out that’s a woman. We will know who she is in next chapter.--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 10:47, 5 June 2021 (UTC)

Though she did not pay so much attention, she still caught all the words clearly according to those sentences happened to move into her ears. It said, “It turns out that those flowers are booming with all kinds of colors, but all of such things are all burned into ruins.” Mascara Jade Forest heard that, filled with a thousand regrets. So she stopped and listened more carefully, and then got another sentence that “There is a pleasant day coupled with a fine landscape but I am not in the mood to admire it; in whose house there are those things happened have their mind relaxed and joyful?” Mascara Jade Forest could not help nod and sigh after those two sentences. She mused, “So actually there are some great articles in dramas. However, ordinary people watch shows only but get no awareness of such fun.” At the next moment she regretted for her conjectures with blindness and disorder, which wasted her time of watching the drama. When her attention was back, she heard that “Only for your flowers-like beauty but years pass by quickly… ” Mascara Jade felt a sense of touch after hearing that. Then there came other words like “You are lamenting yourself lonely in your secluded boudoir.” and so on, which caused her feeling of indulging. Failing to keep standing, she sat on a stone and considered the word “Only for your flowers-like beauty but years pass by quickly… ” carefully. Suddenly she reminded that the day before yesterday she happened to see sentences in predecessor’s poems, which are that “Water runs and flowers fade away, which are both ruthless.” and “The spring has gone just like water runs away and flowers fade away; the past is like heaven but today only leaves ruins.” Together with the sentence listened just now in Romance of the Western Chamber, “When flowers fell into running water it becomes red, which bring thousands of melancholy to people.” she finally got all those sentences.Pitifully and sorrowfully, she shed tears after her consideration. At this time, there was a person who suddenly touched her. She turned her head and figured out that’s a woman. We will know who she is in next chapter.--[[User:Bao Qinwen|Bao Qinwen]] ([[User talk:Bao Qinwen|talk]]) 16:00, 8 June 2021 (UTC)

20210601 culture5

2021-06-15T12:00:08Z

Yi Mingxia: /* History */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What animals does Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe was called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, there are two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, which is discovered to have existed since 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture eats up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57.

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.

[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Mountains and Seas'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:52:32Z

Yi Mingxia: /* Questions */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What animals does Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57.

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.

[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Mountains and Seas'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:51:00Z

Yi Mingxia: /* Questions */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
ok

==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57.

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.

[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Mountains and Seas'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:50:22Z

Yi Mingxia: /* Questions */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. Which kind of ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
ok

==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57.

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.

[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Mountains and Seas'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:47:52Z

Yi Mingxia: /* References */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] Huang Jianhua黄剑华. (2016). 中国稻作文化的起源探析[An analysis of the origin of Chinese rice culture][J].地方文化研究Local Cultural Study,2016,(04):40-57.

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] Li Falin李发林. (1986). 翻车和筒车浅谈[A brief discussion over turnover and barrel carriage][J]. 文史哲Literature, History and philosophy, 1986(03):76-78.

[8]Li Genpan李根蟠. (2011). 水车起源和发展丛谈(上辑)[The origin and development of waterwheel series(previous series)][J]. 中国农史History of Chinese Agriculture, 2011, 030(002):3-18. 水车起源和发展丛谈(中辑)[ The origin and development of waterwheel series(medium series)][J]. 中国农史History of Chinese Agriculture, 2011(04):22-49. 水车起源和发展丛谈(下辑)[ The origin and development of waterwheel series(next series)][J]. 中国农史History of Chinese Agriculture, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Mountains and Seas'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:26:22Z

Yi Mingxia: /* 1.Overview */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
ok

==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] 黄剑华.中国稻作文化的起源探析[J].地方文化研究,2016,(04):40-57.
关键词:农业考古,稻作起源,百越族群

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] 李发林. 翻车和筒车浅谈[J]. 文史哲, 1986(03):76-78.

[8]李根蟠. 水车起源和发展丛谈(上辑)[J]. 中国农史, 2011, 030(002):3-18.
水车起源和发展丛谈(中辑)[J]. 中国农史, 2011(04):22-49.
水车起源和发展丛谈(下辑)[J]. 中国农史, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Mountains and Seas'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:21:50Z

Yi Mingxia: /* 1.Overview */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] 黄剑华.中国稻作文化的起源探析[J].地方文化研究,2016,(04):40-57.
关键词:农业考古,稻作起源,百越族群

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] 李发林. 翻车和筒车浅谈[J]. 文史哲, 1986(03):76-78.

[8]李根蟠. 水车起源和发展丛谈(上辑)[J]. 中国农史, 2011, 030(002):3-18.
水车起源和发展丛谈(中辑)[J]. 中国农史, 2011(04):22-49.
水车起源和发展丛谈(下辑)[J]. 中国农史, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Great Wilderness'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679; Srisinthon 2018: 104; Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:19:09Z

Yi Mingxia: /* 3.The Mythical Creatures Within the Book */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] 黄剑华.中国稻作文化的起源探析[J].地方文化研究,2016,(04):40-57.
关键词:农业考古,稻作起源,百越族群

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] 李发林. 翻车和筒车浅谈[J]. 文史哲, 1986(03):76-78.

[8]李根蟠. 水车起源和发展丛谈(上辑)[J]. 中国农史, 2011, 030(002):3-18.
水车起源和发展丛谈(中辑)[J]. 中国农史, 2011(04):22-49.
水车起源和发展丛谈(下辑)[J]. 中国农史, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Great Wilderness'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to some typical mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:18:17Z

Yi Mingxia: /* References */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] 黄剑华.中国稻作文化的起源探析[J].地方文化研究,2016,(04):40-57.
关键词:农业考古,稻作起源,百越族群

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] 李发林. 翻车和筒车浅谈[J]. 文史哲, 1986(03):76-78.

[8]李根蟠. 水车起源和发展丛谈(上辑)[J]. 中国农史, 2011, 030(002):3-18.
水车起源和发展丛谈(中辑)[J]. 中国农史, 2011(04):22-49.
水车起源和发展丛谈(下辑)[J]. 中国农史, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Great Wilderness'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍(2003).《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

20210601 culture5

2021-06-15T11:16:59Z

Yi Mingxia: /* 1.Overview */

'''Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15'''
*Link to return to [[Foundations_of_Chinese_Cultures_2021|Course Homepage]].
*Link to the other Final Exam paper pages: [[20210601_culture|Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语]]; [[20210601_culture2|Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙]]; [[20210601_culture3|Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇]]; [[20210601_culture4|Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜]]; [[20210601_culture5|Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲]].

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

*You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
*In the topic, please write the category, then the topic - your name and student no.
*For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
*Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). ''翻译基础'' [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. ''智库时代'' Think Tank Times (40) 282-284.
*Please also add a list "Terms and Expressions".
*Please add a "Questions" section.
*Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

= Chinese Martial Arts: Tai Chi - Wáng Zǐhán 王子涵 201930096017 =

== Introduction ==
Tai Chi (also known as T'ai Chi Ch'uan or Taijiquan) is one of the major branches of the traditional Chinese martial arts. Its name is derived from the philosophical term, “Tai Chi,” the first known written reference of which appeared in the Book of Changes over 3000 years ago during the Zhou Dynasty (1100-1221 BC). In this book it says that “in all changes exists Tai Chi, which causes the two opposites in everything.” Tai Chi means the ultimate of ultimate, often used to describe the vastness of the universe. (Dr Paul Lam 2006, 1-10)

The essential principles of Tai Chi are based on the ancient Chinese philosophy of Taoism, which stresses the natural balance in all things and the need for living in spiritual and physical accord with the patterns of nature. According to this philosophy, everything is composed of two opposites, but entirely complementary, elements of yin and yang, working in a relationship which is in perpetual balance. Tai Chi consists of exercises equally balanced between yin and yang, which is why it is so remarkably effective. (Dr Paul Lam 2006, 1-10)

== Major Styles ==
Based on Qigong and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi. Each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.
Based on Controlled Breathing Exercise and martial art techniques from thousands of years ago, Chen Wangting developed the Chen Style Tai Chi around 1670. At present, there are five major styles of Tai Chi, and each of them is named after the corresponding Chinese family from which the styles originate. They are Chen Style by Chen Wangting, Yang Style by Yang Luchan, Wu Style by Wu Yuxiang, Wu Style by Wu Jianquan and Sun Style by Sun Lutang.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)
''' (1) Chen Style '''

Chen Style is characterized by its emphasis on spiral force. Its movements are similar to other martial arts. Slow and soft movements intermix with fast and hard ones. It contains explosive power and low stances. Chen Style is rich with combat techniques that are practical and effective, making it more suitable for younger people.

''' (2) Yang Style '''

The most popular style out of the bunch, the Yang style is widely practiced around the globe. Yang style is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.
As the most popular style out of the bunch, the Yang style is widely practiced around the globe. It is characterized by gentle, graceful and slow movements, which are easier to learn and promote health.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:53, 14 June 2021 (UTC)

''' (3) Wu Style '''

Also referred to as “The 1st Wu style”, it is the result of the combination of Yang and Chen styles. The movements are done in smaller frames with slow, smooth movements and a high posture.

''' (4) Wu Style '''

Dubbed as the “The 2nd Wu style”, it is the second most popular style practiced today. The defining differences of this style are in its hand form, pushing hands and weapons trainings. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

''' (5) Sun Style '''

This style focuses on smooth, flowing movements that exclude the more rigorous physical movements found in the other four styles, such as crouching and leaping. Due to its extra gentleness, it is most suitable to be used for physical therapy.

== Health Benefits ==
When learned correctly and performed regularly, Tai Chi can be a positive part of an overall approach to improving health. The benefits of Tai Chi may include:

''' (1) Physical and Mental Health '''

Several cross-sectional studies indicated that older adults who practiced Tai Chi regularly reported better mental and physical health, (Li 2010, 5) mental well-being, (Zhang 2020, 865-871) flexibility, (Zhu 2007, 355-357) reaction time, walking speed, and mobility compared to people who did not practice Tai Chi. (Wang 2004, 1128)

''' (2) Balance and Fall Prevention '''

Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly. (Jin 2005, 44-48)

''' (3) Strength and Endurance '''

Researches show that individuals who practiced Tai Chi at least 3 times a week on the regular, had higher strength and performance level. (Hu 2012, 51)

''' (4) Chronic Illness Prevention '''

Tai Chi helps in the treatment chronic illnesses like heart disease, blood pressure, arthritis, digestive disorders, depression and a few others. (Cui 2004, 1132)

''' (5) Respiratory System Regulation '''

Breathing is one of the three parts of Tai Chi. The deep breathing helps treat respiratory alignments such as asthma, bronchitis, and emphysema. (Feng 2019, 87-90)

''' (6) Aerobic Capacity '''

Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age. The authors state that Tai Chi may be a form of aerobic exercise. (Feng 2019, 87-90)
Aerobic capacity diminishes as we age, but research on traditional forms of aerobic exercise shows that it can improve with regular training. Investigators found that individuals who practiced Tai Chi for one year (classical yang style with 108 postures) had higher aerobic capacity than sedentary individuals around the same age.Therefore, Tai Chi may be a form of aerobic exercise.--[[User:Wu Siyi|Wu Siyi]] ([[User talk:Wu Siyi|talk]]) 15:56, 14 June 2021 (UTC)

== Terms and Expressions ==

Tai Chi 太极拳

The Book of Changes 《易经》

Chen Style 陈式太极拳（陈王廷）

Yang Style 杨式太极拳（杨露禅）

Wu Style (the 1st) 武式太极拳（武禹襄）

Wu Style (the 2nd) 吴式太极拳（吴鉴泉）

Sun Style 孙式太极拳（孙禄堂）

Chronic illness 慢性疾病

Arthritis 关节炎

Digestive disorders 消化不良;消化疾病;消化系统紊乱

Asthma 哮喘

Bronchitis 支气管炎

Emphysema 肺气肿

Aerobic capacity 有氧能力;有氧运动能力

== Questions ==

1. What ancient Chinese philosophy is Tai Chi based on?

2. What are the 5 main types of Tai Chi?

3. When did Chen Wangting develop the Chen Style Tai Chi?

4. Which Tai Chi style is the most popular?

5. What are the characteristics of Wu Style (the 2nd Wu Style)?

6. How many benefits of Tai Chi are mentioned in this article? What are they?

7. Why is Tai Chi good for balance and fall prevention?

== Answers ==

1. Taoism.‬

2. They are Chen Style, Yang Style, Wu/Hao Style, Wu Style and Sun Style.

3. Around 1670.

4. Yang Style.

5. It is characterized by softness and emphasis on redirecting incoming force. It is also rich with hand techniques.

6. Six. They are physical and mental health, balance and fall prevention, strength and endurance, chronic illness prevention, respiratory system regulation, aerobic capacity.

7. Because Tai Chi movements are steady and slow, shifting from one side to the other with coordinating upper body movements. These movements help the core regain balance and reduces the risk of falling in elderly.

== References ==
[1] Dr Paul Lam and Nancy Kayne保罗·林博士和南希·凯恩. (2006). Tai Chi for Beginners and the 24 Forms[太极拳初学者与24式太极拳]. Limelight Press[利姆莱特出版社] 1-10.

[2] Dr Paul Lam保罗·林博士. (2006). Teaching Tai Chi Effectively[有效的太极拳教学]. Tai Chi Productions[太极拳制作公司] 1-15.

[3] Wang Gang 王岗. (2001). 太极拳对现代人心理调节的作用[Functions of shadowboxing to psychological adjustment of modern men].武汉体育学院学报[Journal of Wuhan Institute of Physical Education]. (1)107-108.

[4] Li Guoping, Fang Yanchun, Zhang Yingjie, Duan Gongxiang 李国平,方艳春,张颖杰,段功香. (2010).太极拳运动对中老年人身心健康的影响[Effect of Tai Chi intervention on physical and mental health of middle-aged and elderly population]. 护理学杂志[Journal of Nursing Science] (2) 5-7.

[5] Zhang Qi, Song Huimin, Cao Rui, Sun Xue, Jin Yi 张琪,宋慧敏,曹睿,孙雪,金奕. (2020).太极拳对轻度认知障碍老年人认知功能干预效果的Meta分析[Effects of Tai Chi on cognitive function for aged with Mild Cognitive Impairment: a Meta-analysis]. 中国护理管理[Chinese Nursing Management] (6) 865-871.

[6] Zhu Jiaxin 朱家新. (2007). 太极拳对老年人心理健康的影响研究[Research on the Influence of Taijiquan on Senior Citizens′ Mental Health]. 湖北体育科技[Journal of Hubei Sports Science] (3) 355-357.

[7] Wang Li, Wang Sen 王利,王森. (2004). 太极拳锻炼对中老年人心理因素影响分析[Effect of shadowboxing on the psychological factors in middle and aged people]. 中国临床康复Chinese Journal of Clinical Rehabilitation (6)1128-1129.

[8] Jin Changlong, Ban Yusheng 金昌龙,班玉生. (2005). 太极拳练习对中老年人静态平衡能力的影响[Effect of Taijiquan Exercise on Middle and Old-aged Persons' Static Balance Ability]. 上海体育学院学报Journal of Shanghai Physical Education Institute (1)44-48.

[9] Hu Zhendong, Zhao Xianqing 胡振东,赵先卿. (2012). 太极拳运动对健康体适能的影响[Tai Chi for Health Fitness Influence]. 淮北师范大学学报(自然科学版) [Journal of Huaibei Normal University (Natural Science Edition)] (2)51-55.

[10] Cui Dongxue崔冬雪. (2004). 太极拳运动对老年人心血管功能的影响及机制探讨[Effects of shadowboxing on cardiovascular functions in old people and its mechanism]. 华东师范大学Shanghai: East China Normal University. 中国临床康复[Chinese Journal of Clinical Rehabilitation] (6)1132-1133.

[11] Feng Wei冯卫. (2019). 健康中国背景下太极拳健身功效研究[Research on the Fitness Efficiency of Tai Chi under the Background of “Healthy China”]. 广州体育学院学报[Journal of Guangzhou Sport University] (1) 87-90.

=Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)=
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==Introduction==
[[File:"shu".jpg|300px|right|(https://img.henan.gov.cn/da73c2f49b89def7e36153a1a784f423?p=0)]]

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.(Zhao Min 2011)

==History and Development==
Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations. (Zhao Min 2011 3-6).

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

==Characteristics==
===1. Material Selection===

The materials used in Shu embroidery are especially carefully selected, the base material is usually silk soft satin, the embroidery thread is silk thread, and there are two strands in one thread, eight silk threads in one velvet. Generally, Shu embroideries are made of silk, satin, spun silk, yarn and crepe, and the threads and materials used vary according to the needs of the embroideries.(Xia Fangsheng 2020)

===2. Embroidery Techniques===

According to statistics, there are 12 categories of stitches and more than 130 kinds of stitches in Shu embroidery, which is the richest among the four famous embroideries, and the 70 processes of exquisite "Yi Jin Thread" are even unique to Shu embroidery. Commonly used stitches include halo stitch, needle laying, needle rolling, needle cutting, needle blending, needle covering, etc. Halo stitch is one of the basic techniques of Shu embroidery and is often used to express the texture of the work, reflecting its light, color and shape, so that the embroidered work comes to life. There are single-sided embroidery, double-sided embroidery and double-sided triple-variant embroidery, among which double-sided triple-variant embroidery is the highest and most difficult expression of Shu embroidery techniques.(Wu You 2020)

===3. Classic Patterns===
[[File:furongjinli.jpg|400px|left|(https://tse4-mm.cn.bing.net/th/id/OIP.7S0tYGuD8A7Ua7AIAIEBmgAAAA?pid=ImgDet&rs=1)]]

[[File:panda.jpg|400px|middle|(https://th.bing.com/th/id/Rc0701668260e4682810a1b87106f8f01?rik=ADTIBAGgsTyBJw&riu=http%3a%2f%2fwww.eastimpression.com%2fshow8.asp%3fid%3d6494&ehk=wZfTcgCnGSQyWhYnShT0t8jK185t4jueFwe9%2fSAEfiE%3d&risl=&pid=ImgRaw)]]

[[File:golden snub-nosed monkey.jpg|200px|right|(https://th.bing.com/th/id/Rad710c0d7e1c3690b004974911eddc92?rik=5FP8xPueFc7P8g&riu=http%3a%2f%2fp1.pstatp.com%2flarge%2fpgc-image%2f1e02c6a2e40647d6becfc1d090a60440&ehk=zsT2ThZuZ6IQcoPshymuQXg2RCfv8aQGHVTE2JcARjI%3d&risl=&pid=ImgRaw]]

The themes of Shu embroidery works are mostly beautiful and auspicious objects, such as dragon and phoenix symbolizing nobility, mandarin ducks symbolizing a happy couple, butterflies symbolizing happy love, hibiscus flowers symbolizing prosperity and wealth, and carp symbolizing luck and good fortune.
What's more, Shu embroidery also often features rare animals unique to Sichuan, such as the panda and the golden snub-nosed monkey.(Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong 2018))

===4. Color Matching===
[[File:wucai.jpg|300px|left|(https://th.bing.com/th/id/R11a8f770d045f8fcc2deadd914904287?rik=3F4%2bySpykgzKdA&riu=http%3a%2f%2fwww.zjaca.com%2fKUpload%2fimage%2f20190102%2f20190102143304_8643.jpg&ehk=UyRaNbZmJ1axrsYv5G4oqvVPTGvQ7LoGstst%2fp01o3Q%3d&risl=&pid=ImgRaw)]]

There are four basic color matching methods in Shu embroidery, namely the overlay color matching method, the single-color matching method, the upper five-color matching method and the lower five-color matching method. The first two color schemes are used to produce a simple and generous work with consistency and coherence. The upper color scheme is bright and vivid, while the lower color scheme is quiet, elegant, and not too bright.(Hang Jianqin 2017)

==Current Situation and Inheritance==

Although Shu embroidery is one of the four famous embroideries, it is much lower than Su embroidery and Xiang embroidery in terms of domestic consumption and foreign export sales. At present, most of the enterprises engaged in the creation of Shu embroidery are small in scale, with insufficient brand influence, backward talent training mechanism, and the problem of talent gap is prominent. Most of the embroideries on the market are mainly handicrafts, but there are few practical items.(Yang Dequan 2020)

For Shu embroidery to have a breakthrough, it should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies. By developing Bashu culture, preserving Shu embroidery works and nurturing back-up talents, Shu embroidery is thus consistently protected and inherited.(Xue Xiaoqian Li Qiju 2015.07.15)

==References==
*Zhao Min赵敏.(2011). 古蜀丝绸文明[Ancient Shu Silk Civilization]. 中国蜀绣Chinese Shu Embroidery,四川科学技术出版社,2011.05, 1-50
*Xia Fangsheng夏方胜(2020). 成都蜀绣[Chengdu Shu Embroidery]. 《地方文化研究》Local Cultural Studies(6),2020
*Wu You吴忧(2020). 蜀绣纹样在文创产品中的创新性应用[Innovative Application of Shu Embroidery Patterns in Cultural and Creative Products]. 《西部皮革》Western Leather(3) 2020
*Wu Nan Wang Kangjian Chen Zhang Liu Cairong Zeng Rong Xiu Manling Zhu Lirong吴楠王康建陈政刘才容曾蓉徐曼玲朱利容(2018) 蜀绣纹样的美好寓意[The Bautiful Symbolism of Shu Embroidery Patterns]. 《纺织科技进展》Advances in Textile Science and Technology(12), 2018
*Hang Jianqin杭建琴(2017) 蜀绣与色彩[Shu Embroidery and Color]. 《天工》The Work of Heaven(2),2017
*Yang Dequan杨德全(2020)《现代艺术》"文艺百家"工程·文艺讲坛Modern Art" "100 Artists of Literature and Art" Project - Literature and Art Forum(7),2020,110-115
*Xue Xiaoqian Li Qiju薛晓倩李奇菊(2015) 浅谈蜀绣历史发展与保护[A Brief Introduction to the Historical Development and Conservation of Shu Embroidery]. 《民俗民风》Folk customs and folkways，2015.07.15 87-88

==Terms and Expressions==
Origin of Chinese Characters 说文解字

central Plains Embroidery School 中原绣派

cross-stitch work 挑花

drawnwork 抽纱绣

cottage handmade 家庭手工制作

market-oriented management 市场化经营

subject mater 题材

silk 绸

satin 缎

spun silk 绢

yarn 纱

crepe 绉

Stitch 针法

single-sided embroidery 单面绣

double-sided embroidery 双面绣

double-sided triple-variant embroidery 双面三异绣

the overlay color matching method 套色配色法

the single-color matching method 单色配色法

the upper five-color matching method 上五彩配色法

the lower five-color matching method 下五彩配色法

back-up talents 后备人才

==Questions==

1. When and where did Shu embroidery came into being?

2. What are the common used stitches of Shu embroidery?

3. What are the classic patterns of Shu embroidery?

4. How should Shu embroidery be inherited?

==Answers==

1.In the early Shang Dynasty; in Chengdu-centered Sichuan Plain.

2. Halo stitch, needle laying, needle rolling, needle cutting, needle blending, and needle covering.

3. Beautiful and auspicious objects, such as dragon and phoenix, mandarin ducks, butterflies, hibiscus flowers, panda and the golden snub-nosed monkey.

4. It should integrate Shu culture with imagination and storytelling on the basis of retaining its own characteristics, rather than purely catering to market tastes. The government should strengthen the market regulation of the cultural sector on Shu embroidery as a cultural heritage, encourage the development of local Shu embroidery enterprises as well as give more preferential policies

=Wuqinxi (Frolics of the Five Animals) - Wú Xīnxīn 吴欣欣 201930096026 =

== '''Introduction''' ==

[[File:wuhuhu.jpg|800px|right|（https://ss3.bdstatic.com/70cFv8Sh_Q1YnxGkpoWK1HF6hhy/it/u=2474219657,1530866572&fm=26&gp=0.jpg）]]
Frolics of animals originated in the period of Spring and Autumn, and the Warring States Period, from Frolics of the Two Animals, Frolics of the Three Animals to Frolics of Multiple Animals. Based on this, Hua Tuo developed the Wuqinxi (Frolics of the Five Animals), a series of exercises based on movements of the tiger, deer, bear, ape, and crane. These easy to do, fun to practice movements are very complete for physical conditioning and internal health and well. It now enjoys a high reputation all over the world. (Anhui Tourism Administration)

== '''Founder''' ==

[[File:huatuo.jpg|200px|left|(file:///E:/%E8%AF%BE%E4%B8%9A/%E5%A4%A7%E4%BA%8C%E4%B8%8B/%E4%B8%AD%E5%8D%8E%E6%96%87%E5%8C%96%E5%9F%BA%E7%A1%80/%E6%9C%9F%E6%9C%AB%E8%AE%BA%E6%96%87%E5%9B%BE/%E5%8D%8E%E4%BD%97.jfif)]]

Hua Tuo was born in Qiao, present-day Anhui Province (present-day Haoxian County, Anhui Province), which is one of the four major distribution centers of Chinese medicinal materials. In the Chronicles of the Later Han Dynasty, it is said that: "Knowing well the way to keep one in good health, Hua Tuo still appeared in the prime of his life when he was almost 100, and so was regarded as immortal.(Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.)

Hua Tuo (141-208 CE) was a contemporary of Zhang Zhongjing. He traveled from town to town treating patients and learning from other doctor's practices. He is famous for his skill as a surgeon and his application of anesthesia. The anesthesia was given as a powder called mafeisan that was dissolved in a fermented drink before performing surgery. It has been suggested the powder may have been hemp since its uses were unknown at that time. In addition to surgeries, Hua Tuo also suggested that his patients should use physical exercise. He devised movements that were similar to the movements of five different animals. These were the tiger, deer, bear, monkey and bird. (Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM)

== '''Frolics of the Five Animals''' ==

'''Tiger'''

Tiger Play is to imitate the shape and movement of a tiger. The features of a tiger are its ferocity, strong body, and good at jumping and scratching. The most important element in the Tiger Play is to imitate the awe inspiring attitude of a tiger. Its spirit is shown in its eyes and its awesomeness comes out of its craws. It stared at angry eyes and moved like wind. It twists its waist with force, wags head and swings tail, and vibrates its body. (Five Animal Frolics)

The tiger is an animal that is known for its speed, agility and external strength. Training under this form will develop the bones, joints, and tendons as it requires intricate coordinated movements. The body is trained in the manner where it holds in twisting stances to develop a coil like exertion. This centers the body to the ground and develops the legs to become more graceful yet deadly. This form is perhaps the most physically challenging of all the forms. Mastery of this form will strengthen the forearms, legs, torso and hands. (Tak Wah Eng, The Spirit of the Five Animals, p. 101. )

'''Deer'''

The Deer Play is to imitate the shape and movement of a deer hoping to attain long life and pure soul like a deer. The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running. When it stands it likes to stretch its neck to glance at things afar. The deer also likes looking at left and right and its rear foot. It is also good at moving its tail bones (sacrum). The tail bone is the place where the Jen and Du Meridians meet. Thus, during practice, the practitioner not only needs to imitate the attitude of a deer with swift movement and calm spirit, but also needs to focus attention on the tail bone. This will guide Qi to the whole body, open meridians, circulate blood, relax tendons and bones, and benefit kidney and strengthen waist. It can also enhance blood circulation in the abdomen. This play is suitable for curing dysfunctional nerves in the internal organs, chronicle infections of the internal organs in the abdomen, fatigue in the waist muscles, nerve pain in the pelvis, deteriorated thigh bones, and the lack of sex drives. (Five Animal Frolics)

[[File:ple.jpg|200px|right|(https://gimg2.baidu.com/image_search/src=http%3A%2F%2Fn.sinaimg.cn%2Fsinacn20%2F292%2Fw640h452%2F20180329%2Fca2e-fyssmmc3957070.jpg&refer=http%3A%2F%2Fn.sinaimg.cn&app=2002&size=f9999,10000&q=a80&n=0&g=0n&fmt=jpeg?sec=1626271004&t=48422f584b1ce63147f40e5808b5b4c2)]]

'''Bear'''

In general, bear forms emphasize turning, twisting, and bending at the waist; and a focus on the power of the shoulders and upper back when reaching, grabbing, and "clawing." Bear forms usually have the feet separated in a horse stance or lower lunges, which helps exercise (stretch and strengthen) the lower body.

Awkward looking but clear in mind. It walks with lightness inside heavy steps.
Gathering Qi at Middle Dantian. It shakes and rampages with force in the shoulders. The bear looks awkward and clumsy, soft as if without bones, its temperament is stable, simple and honest, and it walks with heavy steps. However, flexibility and steadiness are hidden within the heavy steps. Do not mimic the heavy, simple and hones bearing of the bear only, but also try to show the flexibility and steadiness during the exercise. Shaking and rocking are features of the bears' movements, so exert forces with the upper arms (including the shoulders, elbows, hands, hips, knees and feet). Conduct Qi to the Middle Dantian, so as to accelerate deep abdominal respiration and form Dantian Qi.
(Jiao Guorui, Qigong Essentials for Health Promotion, 1988, pp. 193-195)

'''Ape'''

The Ape Play is to imitate the shape and movements of an ape to show its alertness, agility, and constant movement. The features of an ape are its love to imitate, agile movements, good at picking fruit using upper limbs, and escaping attacks from other animals. You should not only practice the agility of your limbs on the outside, but also practice controlling your thoughts on the inside. The goal of the "Ape Play" is to reach a level of "pure and tranquil in thoughts, light but strong body, and "body is moving but mind is calm". This play will enhance the functions of the heart and lung and strengthen the kidney and waist. This play is suitable for people who are older, weaker or in low spirits. (Five Animal Frolics)

When performing the ape exercise, try to imitate the light and swift movements of the ape, but for the internal exercise you should keep your mind like a bright moon shining in the quiet and still night. So the ape exercise is externally dynamic and internally static.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 66)

'''Crane'''

The bird exercise involves imitating a crane, traditionally regarded in China as a symbol of calmness, litheness, and longevity. In the practice of this exercise, you should imitate a crane standing upright, with its beak uplifted and displaying a carefree and contented mood, as well as the relaxed manner with which it flaps its wings. Protrude the neck and stiffen the back to drive the flow of Qi upward when raising your arms. Contract the chest and relax the abdomen to drive the flow of Qi downward to Dantaian in the lower abdomen when bringing your arms together downward. The crane exercise can promote circulation of Qi and blood in all the meridians and improve the motility of all the limbs.
(Wu Qin Xi, Chinese Health Qigong Association, 2007, p. 79)

== '''Benefits''' ==
The "Frolics of the Five Animals" mimics the fierceness of tiger, peacefulness of deer, calmness of bear, agility of ape, and lightness of crane to train the body and mind. It can improve body strength, move blood and Qi, and relax tendons and meridians so people will not get aged quickly.
If you can practice it persistently, you will enjoy light spirit, enhanced appetite, improved agility, and firm steps. This has the functions of nurturing spirit, regulating the flow of Qi and blood, helping Jang and Fu, opening meridians, activating sinews and bones, and benefiting joints. The "Frolics of the Five Animals" is also effective in preventing and curing lung diseases, asthma, high blood pressure, heheart-crownisease, weak nerve system, and indigestion, etc. In addition, frequent practice of the "Five Animal-Frolics" can correct abnormal footings and walking postures, prevent wilting of muscles, and improve body balance. It is also beneficial to other symptoms. Practitioners should practice for 15 minutes twice daily, one in the morning and one in the evening. Also, the practitioner should select a field with fresh air and luxuriant vegetation.

'''Tiger''' - to develop muscular strength. The Tiger strengthens the waist, sinews and kidneys and builds internal power.

'''Deer''' - to develop grace and relaxation. The Deer gives a long stretch to the legs and spine, creating open, expansive movement with very flexible sinew and bones.

'''Bear''' - to develop rooted power. The Bear creates greater leg strength, fortifies the bones and develops energy in the kidneys, your fundamental source of vitality.

'''Ape''' - to develop suppleness and agility. Become quick witted, alert and nimble.

'''Crane''' - to develop balance, lightness and agility. The Crane cools and relaxes your whole body, balances the heart-energy, gently stretches your ligaments and releases your spine.

(Five Animal Frolics)

== '''Terms and Expressions''' ==

Frolics of the Five Animals 五禽戏

Hua Tuo 华佗

Chronicles of the Later Han Dynasty 《后汉书》

Chi-kung 气功

the Tiger Frolics 虎戏

the Deer Frolics 鹿戏

the Bear Frolics 熊戏

the Ape Frolics 猿戏

the Crane Frolics 鹤戏

curing lung diseases 肺病

asthma 哮喘

high blood pressure 高血压

indigestion 消化不良

to move blood and Qi 活血益气

to regulate the flow of Qi and blood 理气活血

== '''Questions''' ==

1.Who is the founder of Wuqinxi?

2.What kinds of animals do Wuqinxi imitate?

3.What does the crane symbolize in traditional Chinese culture?

4.What kind of play is externally dynamic and internally static?

5.What are the characteristics of the deer?

== '''Answers''' ==

1.Hua Tuo.

2.Tiger; Deer; Bear; Apt; Crane.

3.The Crane is traditionally regarded in China as a symbol of calmness, litheness, and longevity.

4.The ape exercise is externally dynamic and internally static.

5.The features of a deer are its gentle disposition, swift movement, love to push with horns, and good at running.

== '''References''' ==

[1] Anhui Tourism Administration 安徽省旅游局 http://www.chinadaily.com.cn/m/anhui/travel/2010-06/29/content_10036053.htm

[2]"Hua Tuo" by Subhuti Dharmananda, Ph.D., Director, Institute for Traditional Medicine, Portland, Oregon.

[3] Traditional Chinese Medicine History - Han Dynasty By Shen-Nong TCM. http://www.shen-nong.com/eng/history/qinhan.html

[4] Tak Wah Eng, The Spirit of the Five Animals, p. 101.

[5] Jiao Guorui焦国瑞, Qigong Essentials for Health Promotion, 1988, p. 193-195

[6] Chinese Health Qigong Association国家体育总局健身气功管理中心Wu Qin Xi《五禽戏》2007, p. 66 p. 79

[7] Five Animal Frolics

=Yāo Yáng 么阳 Chinese Traditional Cultivation Culture=
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==Introduction==
Chinese culture is established on the basis of cultivation. Different from the western Fishing-Hunting Culture and Nomadic Civilization, Chinese farming civilization flourishes in the fertile land between the Yellow River and the Yangtse River, which enables ancient Chinese to have steadier access to food. Every development of agriculture (mainly about planting) is followed by an increment of population, and more population, more food requirements. Then the circle forms, agricultural instruments and institutions must be improved sequentially.

==History==
About how the ancient Chinese learned to plant crops, there is a mythology: Shen Nong, was a great leader of ancient Chinese. It was believed that the leader of Jiang tribe (where people’s last name was Jiang) got his throne for knowing how to use fire. Thus, each leader of this tribe can be called “Emperor Fire”. Shen Nong was the first “Emperor Fire”. As a leader, Shen Nong had the responsibility to lead his people a better life. About his contributions, it has two famous events. One is “Shen Nong tastes hundreds of herbal medicine”, another is “Shen Nong plants 5 cereal grains” [1][2][[File:Img.51wendang.jpeg|200px|thumb|left|alt five cereal grains]]. Shen Nong whose name in Chinese means “God Farmer” is regarded as the origin of Chinese cultivation. And his story maybe a myth, but at least that proves Chinese people has been working on planting long, long ago. Here are some archaeological evidences:
The earliest discovery of ancient plants in China is the store of rices in the Hemudu Culture remains[3][4]. The cabonized rices weight 150 tons, detected existing in about 7000 years ago. Almost in the same era of Hemudu People, primitive people in Banpo remains planted earliest millet.

===The Development of Cultivation Technology===
In primitive age, Chinese use farm tools made of bones.[[File:Mmexport1623687318765.jpg|200px|thumb|left|alt 耒耜]]
In Shang Dynasty and Zhou Dynasty, iron farm tools （picture2[[File:IMG_20210615_152815.jpg|200px|thumb|left|alt 2]]）appeared. And cattle helped people to plow（picture3[[File:IMG_20210615_152805.jpg|200px|thumb|left|alt 3]]）. So killing a cattle for no reason is against the law.
In Western Han Dynasty, Louche, an animal-drawn seed plough, was invented.
In Eastern Han Dynasty, Bi Lan invented Fanche, Turn-Over Water Wheel[9][[Media:P1.ssl.qhimg.jpeg]].( Fanche can also be called as Loongbone Water Wheel. Through Fanche,the water is lifted from water to irrigate the cultivated land. It consists of long plank channel in which placed are dozens of the matched scraper blades(or wooden dipper)hinging end to end in order of circle. At the top and the bottom both have a toothed wooden shaft. The shaft above moves, and the blades spin. So the water is brought from bottom to top. Its power can get from people, animals or water.)
In Tang Dynasty, Quyuanli, crankshaft plough[6], was invented. The plough with incurved shafts was invented by Han people during the Tang Dynasty. It’s referred to as a crankshaft plough and it’s different from a plough that has a straight shaft. It was first popularized in Suzhou and it was known as a “Jiangdong plough.” Compared with the frame of the previous ploughs, the frame of a crankshaft plough is much smaller and lighter. It can easily make turns, making it more flexible to operate. This saves work time. Also, the water wheel is improved and becomes Tongche[[Media:Economy.guoxue.jpeg]].[9] (Tongche’s function is as same as Fanche, but it mainly uses water as its power and it does more than Fanche. Only in some dry areas, animal power is used. Erect a water wheel in the place where water run fast, the bottom soaked into the water and other parts exposed above. Some bamboo tubes are tied obliquely on the wheel. They are getting water with the spinning of the wheel. When they come to the highest point, the water is poured in the channel automatically, flowing into the field.). Southern rice were planted in the skill called Seedling Transplanting Cultivation. Raise rice seed to sprouts first, then move them to the fields. This increased the survival rate and output. The economic center became transfer from North to South.
The growth of crops has to do with water. To water the crops, ancient Chinese not only invented related machines mentioned above, but also built a lot of water conservancy projects. The most famous one is the Dujiang Dam ( also called the Dujiangyan irrigation system) built in 256 B.C. To this day, it still benefits the southwestern people.
The growth of crops has to do with the weather, too. The plants grow according to the nature time. The 24 solar terms is one of the conclusions of weather. Accurate time measures allowed ancient people to work and plant.
The summary of ancient people’s wisdom of agriculture kept to today has the great four books. They are Si Shengzhi Articles in Western Han Dynasty, Essentials of People’s Happiness in Southern Wei Dynasty, Agricultural Book in Yuan Dynasty and The complete book of agricultural administration in Ming Dynasty.

===The Kind of Crops===
In primitive age, Hemudu people and Banpo people began to plant rice and millet. China is the earliest country to plant rice and millet.
In Shang Dynasty and Zhou Dynasty, what we called five cereal grains today had been planted completely and people knew how to select good seeds.
In Tang Dynasty, after Zhang Qian in Han Dynasty was sent to a diplomatic mission, more and more kinds of Xiyu[11] came into the land of ancient China at that time. “ The Classics on Tea ”, written by Lu Yu of the Tang Dynasty ( 618 A.D.-907 A.D.) was the world's earliest treatise on tea leave production. Dring Tea is popular in the whole counry.”
In Song Dynasty, “Zhan City” rice in ancient Viet Nam brought to China. The output of rice was much more than before. State Su and State Hu around Lake Tai turned into the most important area of grain production. The saying can be heard today: “Harvest in Su and Hu, Food of Nation Enough”.
In Ming Dynasty, the high-yield crops like corn and sweet potato from America came to China, and were planted widely in Qing Dynasty, which offered enough food to the population explosion at that time.

===The Land Ownership System===
In agricultural society, the farm land means wealth. The ownership of land is the most important problem.
In primitive society, land belonged to the whole tribe and people worked together.
In Shan Dynasty and Zhou Dynasty, the "Nine Squares" system with one large square divided into 9 small parts, the 8 outer ones being allocated to serfs who had to cultivate the central one for the serf owner. In fact, it was an aristocratic land ownership in the name of country. It was a period of transition from public ownership to private ownership.
In the Spring and Autumn Period and the Warring States Period, the use of cattle ploughing with iron plow made big progress in social productivity. The surplus products redistribution and new-appear market broke the foundation of Nine Squares system. The Land Private-Owning system appeared. The land could belong to farmers, landlords and monarchs. This pervasive land ownership system continued to modern times. Since the Land Reform in The People's Republic of China, it had been abandoned.
In Southern Wei Dynasty and Tang Dynasty, Land Equalization Policy was implemented together with the Land Private-Owning System. After war, many land became free land. These lands belonged to the country. And the government assigned them to common people. The land returned to the government after their death. The system finally failed, for the rich took away the nationalized lands by trickery or by force.

Chinese have an indissoluble bond with land and cultivation, which endows them with the good quality of diligence, courage,temperance,patience and kindness.A brilliant culture aet up on the adequate materals made by mature agriculture.However,their deep love of their land used to prevent the change of ancient China from feudalism to capitalism. The businessman would buy a new land as a landlord rather than invest his business with money earned. Even in modern China, people prefer to buy their own house rather than rent one. And modern Chinese regard planting as a good habit and hobby, they love to plant fruits, vegetables and something to eat in their garden or in the big flowerpot on the balcony.

==Terms and Expressions==

农耕文明：the Cultivation Culture

渔猎文明：the Fishing-Hunting Culture

游牧文明：Nomadic Civilization

两河流域（长江和黄河）：Two-River-Drainage Area

炎帝（神农）: Emperor Fire(Shen Nong)

五谷：Five Cereal Grains，which contains(稻)rice,(黍)millet([ladin]Panicum miliaceum, yellow millet, that has two kinds, sticky or not sticky.),(稷)millet(colorful),(麦)wheat and (豆)bean. Those are general names of different grains taken as staple food in ancient and modern China.

河姆渡文明：the Hemudu Culture

半坡文明：the Banpo Culture

耧车:Louche, an animal-drawn seed plough

曲辕犁(Quyuanli)： Crankshaft

翻车(Fanche)：Turn-over Water Wheel

筒车：Tongche(literation, “che” refers to wheeled machine)

育秧移植栽培：Seedling Transplanting Cultivation

都江堰：the Dujiang Dam

《汜胜之书》：Si Shengzhi’s Articles, written by Si shengzhi

《齐民要术》贾思勰：Essentials of People’s Happiness (CH’I MIN YAO SHU[10])，written by Jia Sixie

《农书》王祯：Agricultural Book,written by Wang Zhen

《农政全书》徐光启: The complete book of agricultural administration, written by Xu Guangqi

《茶经》：The Classic on Tea

西域：Xiyu( “xi” in Chinese means “western”, “yu” means area.) usually refers to Xinjiang in Han Dynasty, and with the ancient China communicated more and more with foreign counries, it could refer to many places in Asia and Europe.

占城稻：Zhan City rice

24节气：twenty-four solar terms

井田制：the Nine Squares system

土地私有制：The land private-owning system

均田制：Land Equalization Policy

==References==
[1]《白虎通义•卷一》：“谓之神农何？古之人民，皆食禽兽肉，至于神农，人民众多，禽兽不足。于是神农因天之时，分地之利，制耒耜，教民农作。神而化之，使民宜之，故谓之神农也。”

[2] 《淮南子•修务训》：“古者，民茹草饮水，采树木之实，食蠃蠬之肉。时多疾病毒伤之害，于是神农乃始教民播种五谷，相土地宜，燥湿肥墝高下，尝百草之滋味，水泉之甘苦，令民知所辟就。当此之时，一日而遇七十毒。”

[3]人教版七年级上册历史教科书第一单元第二课：原始的农耕生活

[4] 黄剑华.中国稻作文化的起源探析[J].地方文化研究,2016,(04):40-57.
关键词:农业考古,稻作起源,百越族群

[5]中国古代农业技术的进步发展

[6] 2018年全国大学英语四级翻译习题：曲辕犁,该文章来源于出国留学网，网址：https://english.liuxue86.com/e/3571825.html

[7] 李发林. 翻车和筒车浅谈[J]. 文史哲, 1986(03):76-78.

[8]李根蟠. 水车起源和发展丛谈(上辑)[J]. 中国农史, 2011, 030(002):3-18.
水车起源和发展丛谈(中辑)[J]. 中国农史, 2011(04):22-49.
水车起源和发展丛谈(下辑)[J]. 中国农史, 2012(01):3-21.

[9]古代水利工具翻车筒车示意图

[10]石声汉教授曾经出版英文版的《齐民要术概论》，《齐民要术》被音译为此名

[11]王璞西域英译考辨 2017

==Question==
1. What is the land ownership system in Tang Dynasty?

2. When did the high-yield crop come to China?

3. Did Bi Lan invent Fanche?

4. What are the last two of the four great agricultural books according to the time?

==Answer==
1.the Land Private-Owning System and Land Equalization Policy.

2.In Ming Dynasty.

3.Yes.

4. Agricultural Book,written by Wang Zhen and The Complete book of Agricultural Administration, written by Xu Guangqi.

=Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas=

== '''1.Overview''' ==

The Ancient Chinese literature ''Shan Hai Jing'', also known as ''The Classic of Mountains and Seas'' and ''The Classic of Great Wilderness'', which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative. The “plot” involves detailed description of locations in the general direction of the ''Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness''. These descriptions are usually about medicines, animals, and geological features. Many of the creatures are ordinary and normal, while many are fantasy and strange. Each chapter in the book follows roughly the same formula, and the book is also repetitious in the same way. The different chapters of ''The Classic of Great Wilderness'' progress very much like a travelogue, with each section focusing on a specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas which surround the central lands. The text has a vivid description of different races, deities, plants, and minerals unique to their own region, and records interesting information about each, including the histories and activities of many demonic or divine characters. This eclectic book also contains important information on early medicine (including treatments for impotence and infertility), ways of averting catastrophe with omens, and rites of sacrifice, and familiar and unidentified plants and animals. It provides a guided tour of the ancient known world, moving outward from the famous mountains of central China to the lands “beyond the sea”. In general, it functions as a guide, getting us to know more about the ancient world. (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

=='''2.Authorship'''==
The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

=='''3.The Mythical Creatures Within the Book'''==
The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180)
The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

[[File:jiuweihu.jpg|400px|left|九尾狐(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fox.jpg?w=880&ssl=1)]]

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

[[File:jiaoren.jpg|400px|left|鲛人(https://i1.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/fishman.jpg?w=880&ssl=1)]]

Fish Man, a mermaid, specialized in weaving waterproof silk fabric.
According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

[[File:tu3.jpg|400px|left|中山神(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhongshanshen.jpg?w=880&ssl=1)]]

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

[[File:tu4.jpg|400px|left|狰(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-zhen-e1576307283400.jpg?w=880&ssl=1)]]

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

[[File:tu5.jpg|400px|left|䑏疏(https://i0.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/shanhaijing-guanshu.jpg?w=880&ssl=1)]]

A Chinese unicorn called Quanshu.

[[File:tu6.jpg|400px|left|举父(https://i2.wp.com/www.viewofchina.com/wp-content/uploads/2019/12/monkey.jpg?w=880&ssl=1)]]

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

=='''4.Changes in the Status'''==
The earliest reference to ''the Classic of Mountains and Seas'' in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of ''the Classic of Mountains and Seas'' in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied ''the table of the Classic of Mountains and Seas'' and Guo Pu of the Jin dynasty made the first note about ''the Classic'', scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of ''the Classic''. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

=='''5.Influences on Chinese Literature'''==
''The Classic of Mountains and Seas'' represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. ''The Classic'' is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

==References==
[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in ''the Classic of Mountains and Seas'' on the later literature ]. ''文学研究''Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. ''瓦莱拉克社会科学杂志''Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in ''the Classic of Mountains and Seas'']. ''现代交际''Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. ''西南民族大学学报(人文社科版)''Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of ''the Classic of Mountains and Seas'']. ''学理论''Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of ''the Classic of Mountains and Seas''][J].''山东理工大学学报(社会科学版)''Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). ''宗教学报''[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

==Terms and Expressions==
The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

==Questions==

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

== Answers ==
1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China.
These brought a fundamental change in the status of ''the Classic''.

=Yuán Jìng 袁静 Kingfisher Craft点翠 =

==Introduction==
[[File:diancui.jpg|400px|thumb|left|jewelry made by kingfisher craft (https://img.zcool.cn/community/0167a25d58f1aca8012187f4f3229e.jpg@1280w_1l_2o_100sh.jpg)]]

Kingfisher craft is a traditional Chinese handmade craft. Artisans make beautify gold and silver headdresses using Kingfisher feathers, and decorated with gemstones and jewelry. It is a synthesis of many exquisite skills, which coalesces the wisdom and talent of groups of artisans over the generations and reflects the refined elegance of traditional Chinese craftsmanship. It is one of the exemplars of traditional Chinese handicraft. <③ P4）

==Meaning==
[[File:Cuiyu.jpg|200px|thumb|left|kingfisher feathers (http://n.sinaimg.cn/jiangsu/crawl/20170920/nZcY-fykymwm9838004.jpg)]]

“Cui,” which refers to a kind of green feather bird, here refers to the lime green feathers of birds. It combines Chinese metalwork and traditional feather artistic handicrafts. Artisans use precious and rare kingfisher feathers to paste on top of gold and silver products in an orderly manner, with coordinated color arrangements and contrasting hues. <①>

==History==
Kingfisher craft is an ancient and long-standing traditional craft in China, with a long history of thousands of years. The earliest record of Kingfisher craft is from Han Feizi, "There was a jewel merchant in the state of Chu who went to Zheng to sell his jewels. He made a box for the jewels out of magnolia wood, perfumed it with spices made of cinnamon and pepper, embellished it with beautiful jade, and attached it with feathers of kingfishers."
"( 《韩非子·外储说左上》：“楚人有卖其珠于郑者，为木兰之椟，熏以桂椒，缀以珠玉，饰以玫瑰，辑以羽翠。”) The "feathers of kingfishers" first recorded products of kingfisher craft.<③ P22>

It is generally believed that Kingfisher craft began in the Han Dynasty. In the Han Dynasty women's jewelry made greater development. The History of the Later Han Dynasty has recorded the jewelry worn by the Empress Dowager, "with jadeite of feathers, with white beads underneath, hanging gold hairpin." (《后汉书》曾记录过皇太后所佩戴的首饰：“以翡翠为毛羽，下有白珠，垂黄金镊。”)The "jadeite of feathers" is the jewelry decorated with kingfisher feathers. Cao Zhi's Ode the Goddess of the Luo River has written, “wearing gold jewelry and ornaments with kingfisher feathers, decorated with bright pearls." (三国曹植的《洛神赋》有：“戴金翠之首饰，缀明珠以耀躯。”)It recorded the jewelry made of kingfisher feathers and jewel together. <③ P24>

In the Tang Dynasty, women dressed elegantly and nobly, so precious pearls and kingfisher feathers were sought after by the noblewomen. (27) Lu Guimeng's Miscellaneous Ploys had a line that, "All the women living in palaces compete with each other to take a look in carriages, and more than three thousand women with Cui pearls admire the emperor." (陆龟蒙的《杂伎》写道：“六宫争近乘舆望，珠翠三千拥赭袍。”)The Cui pearls is the jewelry made of kingfisher feathers and pearls. <③ P28>

In the Song Dynasty, women's hair ornaments inherited from the Tang Dynasty, but in more various forms. Women wore jewelry made with Kingfisher craft on their hair buns, with the shape of flowers, birds and phoenixes. In one of Li Qingzhao's verses, it is recorded that "Wearing a hat with kingfisher feathers on its head and a snow willow whisked with beautiful gold thread, girls were neatly dressed up and beautiful." (李清照《永遇乐》中有记载：“铺翠冠儿，捻金雪柳，簇带争济楚。”) However, due to the gradual dominance of Neo-Confucianism of Cheng-Zhu, people's concept changed and began to advocate simplicity. The Song dynasty court also issued several edicts forbidding the use of kingfisher feathers in headgear. <③ P32>

The Ming Dynasty and the Qing Dynasty were the heyday of kingfisher craft. During the Ming Dynasty, the commodity economy gradually became more active. The style of women's jewelry became more gorgeous. Kingfisher feathers were colorful and therefore favored. Especially in the production of phoenix crowns, the "Nine Dragons and Nine Phoenixes Crown" of Empress XiaoDuan, unearthed in July 1958, is a classic, with its lively colorful kingfisher feathers and luxurious jewelry. The Ming Dynasty's tin flower headdress also created good conditions for the development of Kingfisher craft. This flower-like ornaments were perfect for the use of the Kingfisher craft. <③ P34/P35>
[[File:jiulongjiufengguan.jpg|200px|thumb|left|Nine Dragons and Nine Phoenixes Crown (http://5b0988e595225.cdn.sohucs.com/images/20171206/898057dc1e774546add03c8364853298.jpeg)]]

The Qing Dynasty saw the highest level of Kingfisher craft ever. The noblewomen of the Qing Dynasty paid more attention to the splendor of colors. Thus the glorious and never fading kingfisher feathers became an important decoration. Moreover, the emperor sounded the crown and costume system at that time. The consorts had to wear the imperial crown during the ceremony, and to wear the tin flower headdress on the festive day. Thus the demand for valuable jewelry promoted the use of the Kingfisher craft process on jewelry. <③ P38>Kingfisher craft gradually became a unique and specialized skill. Not only hairpins, head flowers, even fans and bonsai are also decorated with Kingfisher craft technology. Even the late Qing Dynasty set up a special institution responsible for the management and collection of kingfisher feathers. There were also special "kingfisher artisan" in charge of this craft. <③ P41>

In modern times, Kingfisher craft is in decline. Because women no longer use the traditional headdresses in these days, there was no market for them. With the enactment of various animal protection laws, the state does not allow the use of birds' feathers for decoration. Therefore, kingfisher craft gradually declines. However, in recent years, China has paid more attention to the protection of intangible cultural heritage, and kingfisher craft has attracted some attention again. There are already some designers who have designed modern kingfisher products with other alternative materials, and there are also people who use the craft to restore previous jewelry made of kingfisher feathers . <②>

==Characteristics==
The kingfisher craft is not alone. Instead, the jewelry of kingfisher feathers is usually made with gold and silver wire, pearls, gemstones. In order to show the most brilliant colors of the kingfisher's feathers, the artisans who make them must carefully design the shape of the headpiece. Almost every part of the kingfisher process has a different color, depending on the relative position of the observer and the feathers, the light and background color, and other factors. Experiments have shown that when the observer faces the light source, the feathers take on darker colors, such as indigo and blue. However, if the light source is at the back of the observer, the feathers will appear lighter blue-green and green. In order to achieve the brightest effect after wearing, the designer needs to consider the flat pattern of dotted green and design the angle between the models so that they match and illuminate each other. <①>

==Classification==
(1) Hard kingfisher feathers
Hard kingfisher feathers refers to the feathers on the wings and tail, which are more commonly used because they are at a larger area on the wings. Lt is also called eight large strips because there are almost eight feathers available on each kingfisher wing. Although there are eight large feathers but the usable part is very little. Hard kingfisher feathers is characterized by obvious texture, strong luster, and coarser texture. Hard kingfisher feathers is mostly cut and pasted because the hardness of the wing part of hard kingfisher feathers is suitable for cutting into the shape of a piece and pointing to the bottom of the tire. Moreover, hard kingfisher feathers is generally very flat and flaky.

(2) Soft kingfisher feathers
Soft kingfisher feathers refers to the brightest down on the neck and back of the kingfisher. The feather is only a little bit available on the tip, so it will be more expensive, and the production is almost point by point, which is a test of effort. The texture of soft kingfisher feathers is more delicate. However, it does not mean that the grade of jewelry made by soft kingfisher feathers is higher than that by hard kingfisher feathers, but it depends on the overall quality and difficulty of the whole process. The soft kingfisher feathers is made by melting a special glue with warm water and applying it to the back of the kingfisher feathers. This technique is called fixing the glue, and then proceeding with the dots after the glue is all dry. Soft kingfisher feathers are soft and small, so it is mostly used a little by a little. Generally, soft kingfisher feathers is more expensive and has a more delicate texture. <①>
==Making Process==
Generally speaking, the process includes five steps. First, draw the design. The craftsman has to sketch out the piece first, including the colors and many details. Second, make the base. The base has two kinds, including paper and metal ones. The base must be well polished so that kingfisher feathers can be stuck. Third, collect Kingfisher feathers. It is done by hand, which requires skill that does not damage the color of the feathers themselves. Forth, screen the feathers. It means screening out the required feathers. Fifth, paste the feathers. Feathers need to be patiently and meticulously arranged in an orderly manner little by little in the base. It requires artisans not only to take into account the matching of color shades, but also to consider the color of reflected light. <③ P76-82>
==References==
①Wang Hefei 王翮飞《中国珠宝首饰工艺最高水平——点翠》[The highest Level of Chinese Jewelry Craftsmanship--Kingfisher Craft]
https://wap.cnki.net/touch/web/Journal/Article/TGTG201909004.html

②Hu Jie 胡洁《民间工艺——点翠的前世今生》 [Folk Craft -- Kingfisher Craft's History]
https://wap.cnki.net/touch/web/Journal/Article/FJCA202002081.html

③Li Rongsen 李荣森《传统戏曲头饰点翠技艺的传承与发展》 [Inheritance and Development of Traditional Opera Headdress Embellishment Techniques--Kingfisher Craft]

④Han Feizi 韩非子《韩非子》

⑤Fan Ye 范晔《后汉书》

⑥Cao Zhi 曹植《洛神赋》

⑦Lu Guimeng 陆龟蒙《杂伎》

⑧Li Qingzhao 李清照《永遇乐》

==Expressions==
Kingfisher craft 点翠工艺

Empress XiaoDuan 孝端皇后

Han Feizi 韩非子

The History of the Late Han Dynasty 《后汉书》

Ode to the Goddess of the Luo River《洛神赋》

Miscellaneous Ploys 《杂伎》

Information《永遇乐》

hard kingfisher feathers 硬翠

soft kingfisher feathers 软翠

base 首饰胎底

tin flower headdress 钿花

Neo-Confucianism of Cheng-Zhu 程朱理学

Nine Dragons and Nine Phoenixes Crown 九龙九凤冠

==Questions==
1.What is the earliest known reference to kingfisher craft?

2.When did kingfisher craft origin?

3.In what dynasty did the governor issue edicts forbidding the use of kingfisher feather in headgear?

4.When did kingfisher craft reach its peak?

5.What are the two kinds of kingfisher feathers?

6.Is the grade of jewery made by soft kingfisher feathers higher than that by hard kingfisher feathers?

7.How many steps are involved in making process?
==Answers==
1.Han Feizi

2.in the Tang Dynasty

3.the Song Dynasty

4.in the Qing Dynasty

5.They are hard and soft kingfisher feathers.

6.No, It depends on the overall quality and difficulty of the whole process.

7.five

Corrector--[[User:Zhao Ke|Zhao Ke]] ([[User talk:Zhao Ke|talk]]) 09:14, 15 June 2021 (UTC)

=Zhào Kē 赵轲 Traditional Chinese Funeral Culture=
==A. Origin and Development==
[[File:zhoukoudian.jpg|200px|thumb|left|Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)]]
[[File:zhg.jpg|200px|thumb|right|Chinese Funeral (https://m.sohu.com/a/239501313_476716)]]
It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

==B. Traditional Process==
In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

[[File:zh.jpg|200px|thumb|left|Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)]]
'''(1) A public announcement of the death with weeping and other sad expressions.'''

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

'''(2) Changing clothes.'''
[[File:zsh.jpg|200px|thumb|right|Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)]]
Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

'''(3) Bathing the dead.'''

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

[[File:zsfh.jpg|200px|thumb|left|Shaozhi (burning paper) (http://nimg.ws.126.net/?url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)]]
'''(4) Delivering food, money, etc. to the world of the dead.'''

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

'''(5) Setting the tablet.'''
[[File:zsash.jpg|200px|thumb|right|Paiwei (tablet) (http://www.t-chs.com/pche0/542793597396.html)]]
It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

'''(6) Ritual use of money and hiring of professional staff.'''

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

[[File:zssssssh.jpg|200px|thumb|left|Chanting scriptures (http://www.dashangu.com/postimg_19508114.html)]]
'''(7) With music to accompany the dead, soothe the soul.'''

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

'''(8) Going into the coffin.'''

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

[[File:zssssawefssh.jpg|200px|thumb|right|Buried (http://baijiahao.baidu.com/s?id=1672907444430681061&wfr=spider&for=pc)]]
'''(9) Buried.'''

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

==C. Some Main Forms==
'''1.Burial in Earth'''

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

'''2. Cremation'''

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

[[File:zsssssasdsh.jpg|200px|thumb|left|Tianzangtai (Sky Burial Platform) (http://www.mafengwo.cn/g/i/7041035.html)]]
'''3. Sky Burial'''

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

[[File:zssdssdsh.jpg|200px|thumb|right|Water Burial (http://blog.sina.com.cn/s/blog_9f36359f0102v72t.html)]]
'''4. Water Burial'''

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

==Terms==
Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

==Questions==
1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

==Answers==
1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

==References==
[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. ''劳动保障世界 (理论版)''. [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) ''民间丧葬习俗'' [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). ''中国地方志民俗资料汇编·东北卷'' [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). ''中国葬俗'' [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象 [Cremation and Burning of Grave Chamber in Shang Culture]. ''江汉考古''[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. ''历史人类学学刊'' [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. ''北方论坛'' [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. ''黔南民族师范学院学报''. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. ''商'' [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. ''Journal of Guangxi University for Nationalities(Philosoph)''. (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. ''中国医学人文''[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). ''中国古代陵寝制度历史研究'' [Study on the History of Chinese Ancient Mausoleum System];

[13] Yang Qun 杨群. (2015). 藏族丧葬习俗的文化地域特征探究[Study on the Cultural Regional Characteristics of Tibetan Funeral Customs].''边疆经济与文化''[Frontier Economy and Culture]. (12) 69-71;

[14] Zhao Shijian， Liao Liming 赵士见, 廖利明. (2020). 近代鄂伦春族丧葬习俗变迁研究 [The Changes of Funeral Customs of the Oroqen People in Modern Times]. ''地域文化研究'' [Research on Regional Culture]. (06) 97-104+149;

[15] Zhang Keji 张可吉. (2017). 略论甘南藏区天葬习俗[On the Custom of Sky Burial in Gannan Tibetan Area]. ''中国民族博览''[Chinese Nationalities Expo]. (07) 7-8;

[16] Zheng Xiaojiang 郑小江. (1995). ''中国死亡文化大观'' [The Grand View of Chinese Death Culture]；

[17] Zhou Suping 周苏平. (2004). ''中国古代丧葬习俗'' [Funeral Customs in Ancient China].

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