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2026-02-09T23:52:40Z

Zeng Lin:

==Final Paper==

==Quanzhou Zanhua-- Hairpin Flower Adornment==

==Contents==

1.1Quanzhou Zanhua
1.1.1Introduction
1.1.2Historical Origin
1.1.3Production Process
1.1.4Cultural Significance
1.1.5Social Function
1.1.6Intangible Cultural Heritage Protection
1.2Reference
1.3Terms
1.4Questions
1.5Answers

====Introduction====

The hairpin flower adornment originated from Xianpu Village, Fengze District, Quanzhou City, Fujian Province, and belongs to China's intangible cultural heritage. As an important part of Quanzhou's folk costume culture, the custom of hairpin flowers in Xunpu showcases a quaint charm with its unique hairpin flower headdress and wide sleeved shirt, while carrying ocean memories and folk traditions. Hairpin flower headdress with rich layers of decoration, known as the "walking garden", in terms of form exhibiting unique regional characteristics and cultural connotations in decorative arts. As a unique component of cultural heritage, the hairpin style of the women of Xunpu exudes a unique charm and profound historical atmosphere, embodying local customs, historical memories, and cultural genes.

In 2008, the women's customs of Xunpu, represented by "Zanhua Wei", were included in the second batch of national intangible cultural heritage list, and their cultural value has been widely recognized by the government and society. This is not only a decorative custom, but also a vivid embodiment of Quanzhou's historical and cultural heritage. Through in-depth exploration, protection, and rational development, this ancient culture will be revitalized and shine with new brilliance in the new era, further enriching people's spiritual world, promoting the development of related industries such as culture and tourism, and contributing to the prosperity of local culture and economic growth.

====Historical Origin====

Quanzhou Hairpin Flowers, one of the traditional and ancient head ornaments of the Chinese nation, originated in the Han Dynasty, flourished in the Tang Dynasty, and evolved during the Song Dynasty. The Tang Dynasty painting Court Ladies Adorning Their Hair with Flowers vividly captures the graceful posture of women adorned in splendid attire with flower hairpins. Within the clothing culture of Xunpu, the custom of wearing flower hairpins is distinctive, carrying unique cultural significance. Legend has it that as early as the Han Dynasty, people used fresh flowers, gold and silver, and silk to craft artificial blooms for hair decoration, serving both aesthetic and ceremonial purposes. The custom of flower hairpins among Xunpu women is rich in legend. One tale tells of a Xunpu woman, originally a palace beauty, who was bestowed with a flower hairpin by the emperor, passing down the tradition through generations and adding an aura of mystery and nobility. Another account links the practice to local maritime culture, where male fishermen presented flower hairpins to women as tokens of respect and blessing. Initially, hairpins were often meticulously crafted from materials like seashells and coral. Over time, the designs blended fresh and dried flowers, as well as single blossoms and garlands, with jasmine and other flowers being the most common. The style could also change with the seasons and personal preference. Moreover, flower hairpins serve as essential adornments in Xunpu attire, harmoniously integrating with local garments. They not only highlight the unique charm of Xunpu women but also showcase the distinctive clothing culture of the region.

====Production Process====

The main steps of the hairpin and flower enclosure technique in the women's custom of Xunpu include material preparation, hair styling, decoration, and shaping.

The hair styling tools include a comb, a moderately long red string, a bone comb, etc. If necessary, a wig can be prepared. Decorative components include flower strings, border flowers, small combs, tortoiseshell combs, hairpin needles, golden spear needles, golden flowers, golden swords, etc. It is advisable to choose different flower species for flower skewers, with a quantity of 1 to 5 skewers; Edge flowers can be selected and matched as needed, with a minimum quantity of 1 flower.

First, comb your hair straight, including all the bangs, back to keep your forehead smooth and neat. Starting from the earlobe as the distribution line, use a bone comb to divide your hair into front and back parts. First, comb the back of the hair straight and tie a half height ponytail with a red string; Sort out the front part of the hair, use a bone brace to support and fix the front part of the hair, then merge the front part of the hair into the back part of the hair. Tie the front and back parts of the hair together with a reserved red rope to form the same ponytail, and let the remaining red rope hang naturally on the top of the head. Twist the long ponytail into a slender rope shape, and then spiral the rope shaped ponytail around the hand in a loop by loop manner. The hair loop naturally starts from big to small, and then around the base of the ponytail, the hair loop is twisted into a flat spiral circular bun from small to big, from inside to outside, and then pulled out to fix the bun. A small section of hair at the end of the remaining ponytail is twisted and wrapped around the remaining red string, fixed and wrapped around the base of the ponytail, hidden between the flower clusters or between the flower clusters and the hair bun. Edge flowers are inserted to increase the layering and richness of the headwear, completing the edge flower wearing. The selection of color, shape, and quantity of border flowers should be coordinated with the flower clusters and form a harmonious aesthetic with them. It is advisable to choose edge flowers with bright colors and diverse shapes to reflect the overall colorful and rich floral decoration. Wear a tortoiseshell comb on the front side of the bun, and insert the pin hairpin of the tortoiseshell comb into the center of the bun to assist in fixing, so that the tortoiseshell comb and the overall hairpin flower blend together and complement each other. Insert hairpin needles at the top or side of the bun; Other gold jewelry such as gold flowers and swords can be worn as needed.

====Cultural Significance====

The crab hairpin flower is a distinctive part of the local clothing culture, with different flowers containing unique meanings. For example, peonies symbolize wealth and prosperity, plum blossoms symbolize proud and cool breeze, orchids showcase freshness, chrysanthemums represent integrity and perseverance, and wearers can use this to express their emotions and pursue a spirit of good quality. Hairpin flowers themselves are also auspicious symbols, symbolizing happiness and beauty, and are used as objects of prayer and celebration, wishing for good luck to come.

In addition, the hairpin flower, as a symbol of love and blessing, witnesses the happy and fulfilling marriage of the crab maiden. In the traditional wedding customs of the crab maiden, on the day of the wedding, the bride is dressed in traditional clothing such as a blue shirt and wide pants, and wears a beautiful flower wreath on her head. The hairpin flowers complement the clothing, showing off her beauty. This custom not only continues traditional marriage customs, but also represents the inheritance and display of crab culture, carrying people's expectations for a better life. Hairpins and flowers have multiple meanings in ancient times, serving as a symbol of status among the nobility, and jade jewelry hairpins and flowers further demonstrate status. In Crab Village, hairpin flowers have become a symbol of women's diligence, resilience, and beauty. The crab girl showcases her unique charm with hairpin flowers, winning social recognition. The symbolic significance of hairpin flowers varies in different contexts. In the Song Dynasty, hairpin flowers also had the function of distinguishing official ranks, with different colors, flowers, hairpin techniques, and material colors corresponding to different official ranks. Although the silk hairpin flower does not have the function of distinguishing official ranks like the Song Dynasty silk hairpin flower, it reflects the unique cultural connotation of silk hairpin women. Paired with the traditional clothing of silk hairpin women, silk hairpin flowers have become an indispensable part of silk hairpin clothing culture, showcasing the unique charm and value of silk hairpin women.

The hairpin flower, as a hairstyle, is an important element of the crab's clothing culture. The hairpin flower displays the elegant taste and vitality of the crab maiden from the very beginning
With a lively atmosphere, the crab shaped woman carefully selects and matches the fresh and fake flowers on the hairpin, pursuing perfection in both color and shape. It is also a carrier for women to showcase their softness and beauty. In Crab Village, girls grow long hair from a young age. From the age of eleven or twelve, they carefully tuck their hair behind their heads and stuff it with fresh or fake flowers, forming a "thick toed" hairstyle. This hairstyle is beautiful and elegant, carrying the unique understanding and pursuit of beauty by the crab girl. The hairpin flower and traditional clothing such as the blue cloth shirt and wide pants of the crayfish women complement each other, jointly shaping the unique image of the crayfish women. Hairpin flower is not only a hairstyle, but also reflects the persistent pursuit of beauty by the women of the crab shaped dress, showcasing the charm of the crab shaped dress culture.

At the level of maritime beliefs, wearing flowers on the head has also become a cultural symbol for coastal ethnic groups. On the occasion of the birthday of Mazu, the sea god, on the 29th day of the first lunar month every year, a folk celebration called "Tianxiang" is widely held along the coast of Fujian Province. The custom of worshiping gods with flowers is quite influential in the Quanzhou area. Among them, the tradition of the women's hairpin flower parade in Xunpu continues to this day. This ceremony not only expresses reverence for the marine gods, but also strengthens the spiritual identity of coastal ethnic groups towards marine civilization through collective cultural practices, forming a unique landscape where nature worship and regional culture are intertwined.

====Social Function====

1. Practical functions
The shape and structure of the hairpin flower enclosure are deeply in line with the geographical environment and production and living needs of Xunpu Village. In the early days, many men in Xunpu relied on going out to sea for a living. Diligent women in Xunpu not only took on household chores, but also had to go to the beach to harvest oysters. Due to the strong wind and sand in the natural environment by the seaside, and the frequent need for them to lower their heads to pick oysters, bend down to cast nets and fish, the women of Xunpu chose the habit of not leaving bangs and coiling their long hair around their heads. The hairpin flower enclosure is fixed to the bun structure with multiple hairpin hairpins, which has strong stability and can effectively help fishermen resist the invasion of sea breeze during work. It can also prevent hair from being soaked in seawater or tangled in fishing nets, fully reflecting the organic unity of practical function and regional culture.

2. Aesthetic function
The women of Xunpu have a special love for flowers, and they consider them as important decorative elements. The hairpin materials mainly include two types: "raw flowers" and "ripe flowers": the former specifically refers to various natural flowers that bloom in season; The latter is decorative silk flower, commonly known as "plastic flower". They decorate the spiral bun with layers of flower garlands, fresh flowers, and silk flowers, and wear 1-2 strings of flower garlands on ordinary days. During festivals or festive occasions (such as Mazu's birthday), women in Xunpu Village usually spend several hours carefully decorating their hairstyle wearing 5 to 7 different colored flower garlands, and dressed in formal attire to express celebration and joy. In addition to flowers, she often wears various exquisite hair and inserting comb. The women of Xunpu create a colorful "miniature garden" with their unique aesthetic pursuit by decorating their heads. The dazzling flowers seem to be the finishing touch of their life, overshadowing the trivialities of daily work.

====Intangible Cultural Heritage Protection====

Since the inclusion of the "Crab Pond Women's Customs" in the national intangible cultural heritage representative project list in 2008, with the dual promotion of the integration of "intangible cultural heritage" culture and tourism and the star effect, Zanhuawei has quickly become popular and developed a series of photo and makeup industries. From the perspective of semiotics, cultural consumption is a social and cultural activity that uses various symbols to showcase individual personalities, express self-worth judgments, and disseminate symbolic value cognition, achieving group symbolic value recognition. Moreover, "symbol" and "object" are closely related and inseparable, and non-material cultural products often require objects as carriers of symbols and visual forms of meaning. In this sense, the hairpin flower enclosure has gradually broken through the limitations of geographical and cultural circles, and its symbolic meaning and dissemination path have undergone significant reconstruction, transforming from a cultural identity within the community to a widely influential visual consumption symbol.

In January 2024, the official Weibo account of UNESCO gave a thumbs up to Quanzhou Zanhua. On April 19th, "Quanzhou Sturgeon Pond: Head Garden Intangible Cultural Heritage Experience" was selected as one of the "Top 10 Innovative Cases of Intangible Cultural Heritage Tourism Experience in 2024" released by the China Tourism Research Institute. The unexpected popularity of Quanzhou hairpin flowers has brought the national intangible cultural heritage "Crab Pu Women's Customs", which is not well-known to outsiders, into the public eye. More and more tourists are experiencing the cultural spirit of "Crab Pu Women's Customs" and its aesthetic charm through Quanzhou police flower intangible cultural heritage tourism. This article attempts to analyze the stage construction of Quanzhou hairpin flower intangible cultural heritage tourism experience from the perspective of tourist experience (expected experience, on-site experience, reminiscence experience), sort out the innovative ideas of Quanzhou police flower intangible cultural heritage tourism in shaping tourist experience, and then explore the implementation path of innovative development of intangible cultural heritage tourism experience, providing useful reference for the development and operation of intangible cultural heritage tourism products.

Realizing that beauty is the ultimate password for sustained profitability in cultural tourism, from pursuing beauty to creating beauty, we have formed an innovative ecological chain for intangible cultural heritage tourism experience, which runs through the three stages of tourists' expected experience, on-site experience, and reminiscence experience. One is to promote experiential design through the pursuit of beauty. Conduct research on the aesthetic needs and motivations of tourists participating in intangible cultural heritage experiences, guide the design of aesthetic carriers such as intangible cultural heritage products, activities, and scenes, create aesthetic objects, and stimulate tourists' interest in participating in experiences. The second is to promote the excavation of intangible cultural heritage through "creating beauty". Encourage tourists to participate in the creation of beauty during the process of experiencing it, explore the connotation of intangible cultural heritage together with tourists, integrate intangible cultural heritage elements into modern life, and create new forms of intangible cultural heritage experience. The third is to achieve the inheritance and protection of intangible cultural heritage through "sharing beauty". Make good use of online media and social platforms to stimulate tourists' potential willingness to "share beauty", understand tourists' experience, feelings, and evaluations, explore new directions for innovation in intangible cultural heritage experience through interactive communication with customers, promote tourists' understanding of the value of intangible cultural heritage through feedback and flexible positive guidance, and stimulate the initiative of the whole society to inherit and protect intangible cultural heritage.

===Reference===

1.Lin, Q., & Li, Y. (2025). 福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究 [A study on the form and decorative artistic characteristics of the Zanhua headdress in Xunpu Village, Quanzhou, Fujian]. 美与时代(上)[Beauty & Times], (09), 148–151. <https://doi.org/10.16129/j.cnki.mysds.2025.09.034>
2.Song, S., Lü, Y., & Chen, F. (2025). 蟳埔簪花图案的内涵与创新运用研究 [A study on the connotation and innovative application of Xunpu Zanhua patterns]. 西部皮革[West Leather], 47(13), 136–139. <https://doi.org/10.20143/j.1671-1602.2025.13.136>
3.Yan, R. (2025). 作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构 [The Zanhua headdress as a visual symbol: Folklorism and meaning reconstruction in the photo-taking experience]. 粤海风[Yuehai Style], (05), 30–37. <https://doi.org/10.16591/j.cnki.44-1332/i.2025.05.010>

===Terms===

1.Hairpin flower adornment 簪花
2.Xunpu lady 蟳埔女
3.Bone marrow 骨笄
4.Mazu 妈祖
5.“thick toed” hairstyle “粗脚头”发式
6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》
7.hair bun 发髻
8.official rank 官阶
9.Bun 圆髻

===Questions===

1. As a national intangible cultural heritage, how do the form and decoration of the Zanhua Wei headdress reflect the maritime cultural characteristics of the Xunpu region in Quanzhou?
2. Historically, how did the Xunpu Zanhua custom integrate traditions from the Han culture of the Central Plains with indigenous Min-Yue culture, ultimately forming its unique appearance?
3. Briefly describe the technical essentials and cultural significance of the two core steps—“hair coiling” and “decoration”—in the crafting process of the floral hairpin headdress.
4. What social functions and cultural symbolic meanings beyond aesthetics does the floral hairpin bear in the social life of women in Xunpu?
5. As contemporary “flower-adorned headdresses” transition from community cultural symbols to mass tourism consumption icons, what core issues concerning intangible cultural heritage (ICH) preservation and development does this process involve?
6. From the perspective of “innovative ICH tourism experiences”, what replicable pathways does the successful practice of Quanzhou flower-adorned headdresses offer?

===Answers===

1.The design and ornamentation of the flower-adorned headdress profoundly reflect the survival environment and cultural adaptation of Quanzhou's Xunpu Village, where the sea serves as their field. In form, the core practice involves combing all long hair backward into a flat, round bun secured tightly. This not only facilitates coastal labor by preventing hair from being tangled by sea winds or caught in fishing nets, but also adapts to the windy, sandy maritime climate through the absence of bangs and a clean forehead—a manifestation of practical rationality. In terms of ornamentation, both materials and symbolism are intrinsically linked to the sea: early floral hairpins were often crafted directly from polished marine products like seashells and coral, establishing a distinctive aesthetic rooted in oceanic materials. Its spiritual core is deeply intertwined with maritime folk beliefs such as Mazu worship. For instance, during significant celebrations like the “Birthday of Mazu”, the floral hairpin headdress is essential attire for divine offerings and processions. Thus, the floral hairpin headdress transcends mere aesthetic ornamentation, embodying as a material carrier the “local knowledge” that synthesizes productive function, ecological adaptation, and maritime faith.
2. The origins of the flower-pinning custom in Xunpu trace back to the ancient ritual of adorning hair with flowers in Han Chinese culture. The practice of decorating hair with fresh flowers, gold, silver, and silk emerged during the Han Dynasty, reaching its peak during the Tang and Song periods, as vividly depicted in the “Ladies Adorning Their Hair with Flowers” painting. This tradition migrated southward to Fujian with the relocation of Central Plains gentry. In Quanzhou's Xunpu region, the custom underwent profound fusion with the indigenous marine culture of the Minyue people and the multicultural influences brought by Quanzhou's maritime trade during the Song and Yuan dynasties. This integration manifested as follows: while in form, it absorbed the ancient Minyue tradition of “shell ornamentation”, developing distinctive shell-carved hairpins and hair combs. Combined with exotic flowers (such as jasmine and gardenia) and aesthetic elements introduced via the Maritime Silk Road, this evolved into a complex and dazzling visual system symbolized by the “flower-adorned headdress”. Thus, it represents the long-term interaction within a specific geographical space of three cultural strands: the ritual customs of Central Plains agrarian civilization, the maritime tribal culture of Minyue, and the urban fashions of overseas trading cities.
3. Hair-Styling Technique: Centered on bone hairpins for sectioning, red cord binding, and spiral coiling. The technical essence lies in using bone hairpins as a supporting framework. Through spiral coiling and red cord fixation, a stable, flat, and full circular base is formed. This base (the bun) is called the “coarse foot head”. Its sturdiness ensured practicality for labor in maritime environments, while its circular shape embodied traditional cultural concepts of “perfection” and “harmony”.
Decorative Artistry: Follows a layered logic of “base-body-accent”. First, floral garlands encircle the bun to create a full foundation, with quantity (1-2 garlands for daily wear, 5-7 for celebrations) distinguishing routine from festive occasions. Second, a tortoiseshell comb secures the bun while serving as ornamentation. Derived from the sea, tortoiseshell symbolizes status and auspiciousness. Finally, three-dimensional accents like floral hairpins, hairpins, and gold-tipped pins create a “cluster of brocade” effect through contrasting colors and staggered shapes. This entire adornment process transforms the head into a “mobile garden”, embodying the aesthetic concept of “unity between heaven and humanity”—a microcosmic simulation of the relationship between humans and nature.
4. Age and Life Stage Markers: Girls begin styling their hair with floral pins around age 11 or 12, marking their entry into adolescence. Floral pins worn during weddings are particularly elaborate, forming a central element of marriage rituals.
Social Identity and Virtue Symbol: The flower-adorned headdress serves as an ethnic identifier for the “Xunpu women”, symbolizing female diligence, resilience, and domestic competence. Its intricate yet orderly design visually embodies the community's expectation of women cultivating both inner and outer virtues.
Vessel for Emotions and Spirituality: The choice of flowers conveys personal sentiments (such as love wishes), while collective flower-pinning activities (like Mazu processions) reinforce community identity and maritime faith.
5. Local communities (especially middle-aged and elderly women) serve as cultural custodians—from skill demonstrators and hairstylists to folklore interpreters. Confirming their central role and ensuring fair returns from tourism revenue are key to sustainable preservation. For tourists, the significance of hairpin-adorned headdresses has shifted from representing “the lifestyle of women in the coastal villages” to becoming a “classical aesthetic experience” and a “photo prop”. The deeper connotations it carries—such as maritime history and communal memory—may be diluted in superficial consumption. Effectively conveying its cultural depth through tourism experience design presents a major challenge. The tourism boom attracts younger generations to return home and engage in related industries, bringing new inheritors and dissemination methods to intangible cultural heritage. However, this may also make the motivation for inheritance more economically driven.
6. Precisely addressing tourists’ dual demands for “visual spectacles” and “cultural immersion” in the social media era, the flower headdress has been reimagined as a “wearable cultural symbol” blending Eastern aesthetic charm with high interactivity. Leveraging celebrity influence and aestheticized dissemination through platforms like Xiaohongshu and Douyin, it has successfully ignited tourists' desire for photo opportunities and aesthetic aspirations.

==期末论文==

==泉州簪花==

==目录==

1.1泉州簪花
1.1.1引言
1.1.2历史渊源
1.1.3制作工艺
1.1.4文化意义
1.1.5社会功能
1.1.6非遗保护
1.2参考文献
1.3术语
1.4问题
1.5答案

====引言====

簪花围头饰发源于福建省泉州市丰泽区蟳埔村，属于我国非物质文化遗产。作为泉州民俗服饰文化的重要组成部分，蟳埔簪花习俗以其独特的簪花头饰与阔袖上衣展现出古朴韵味，同时承载着海洋记忆与民间传统。簪花围头饰装扮层次丰富，被誉为“行走的花园”，在形制
与装饰艺术上展现出独特的地域特色和文化内涵。蟳埔女的簪花发式作为文化遗产的独特构成，散发着独特魅力与深厚历史气息，凝结着地方民俗、历史记忆与文化基因。

2008年，以“簪花围”为代表的蟳埔女习俗被列入第二批国家级非物质文化遗产名录，其文化价值已获得官方与社会广泛认同。这不仅是装饰性的习俗，更是泉州历史文化的一种生动体现。对其进行深入挖掘、保护与合理开发，将使这一古老文化焕发新生机，在新时期绽放新光彩，进一步丰富人们的精神世界，推动文旅等相关产业发展，为地方文化繁荣与经济提升贡献力量。

====历史渊源====

簪花，作为中华民族传统而古老的头饰之一，始于汉代、兴于唐朝、发展于宋朝。唐朝的《簪花仕女图》清晰地展示了女子身着华丽服饰、头戴簪花时的优雅姿态。在蟳蜅服饰文化中，簪花习俗别具一格，承载着独特内涵。据传，汉朝时人们就会用鲜花、金银、绸绢等制成假花来装饰发髻，具美颜与礼仪之效。蟳蜅女的簪花习俗充满传奇色彩，一种说法是一位蟳蜅女原为宫中佳人，获皇帝御赐簪花，并将这种习俗代代传，增添神秘尊贵气息；另一种说法与当地海洋文化有关，即男性渔民以簪花赠与女性，表示敬仰祝福。最初簪花多采用海贝、珊瑚等材质进行匠心打造。随着时间推移，簪花融合生花与熟花、单支花卉与花串，其中以素馨、茉莉等花卉最为常见，并且可随四季与喜好变换。同时，簪花是蟳蜅服饰的重要装饰，与当地服饰完美融合，既展现了蟳蜅女独特魅力，也彰显出蟳蜅独特的服饰文化。

====制作工艺====

蟳埔女习俗簪花围技艺主要步骤包括材料准备、盘发、装饰、成型。

盘发工具包括梳子、长度适中的红绳、骨笄等，必要时可准备假发。装饰部件包括花串、边花、小插梳、玳瑁梳、钗仔针、金铳针、金花、金剑等。花串宜选择不同花种，数量宜以1串～5串；边花可按需选择搭配，数量至少为1朵。

先将头发梳理顺直，连同刘海全部往后梳，保持额头的光洁整齐，以约耳廓处为分发线起点，用骨笄将头发分为前后两部分。先将后部分头发梳理顺直，用红绳系起半高马尾；梳理前部分头发，用骨笄支撑固定住前部分头发，再将前部分头发合并至后部分头发，前后两部分头发用预留的红绳合扎成同一个马尾，剩余的红绳自然垂放于头顶中。将长马尾辫拧成一股细长绳状，再将绳状马尾一圈一圈螺旋式绕到手上，发圈自然由大及小，接着以马尾根部为中心，将发圈由小及大、由里及外，一圈圈盘按成扁平螺旋状圆形发髻，紧接着抽出骨笄固定圆髻。剩余马尾发尾一小截头发，与留存的红绳合拧缠绕、将其固定环绕于马尾根部隐藏在花串之间或花串与发髻之间的间隙中，插入边花，以增加头饰的层次感和丰富度，完成边花佩戴。边花的颜色、形状和数量的选择要与花串相协调，并与花串形成和谐美感。宜选用颜色明艳、形状各异的边花，以体现整体花饰的多彩、丰富。在发髻前侧面戴上玳瑁梳，玳瑁梳针脚簪插于发髻中心辅助固定，使玳瑁梳与整体簪花融为一体相得益彰。在发髻的顶部或侧面，插上钗仔针；金花、金剑等其他金饰可按需佩戴。

====文化意义====

蟳蜅簪花是当地服饰文化中极具特色的部分，不同花卉均蕴含独特寓意，如牡丹象征富贵，梅花寓意傲骨清风，兰花彰显清新，菊花代表节操与坚韧不拔，佩戴者可借此寄托情感，表达对美好品质精神的追求。簪花本身也是吉祥象征，寓意着幸福美好，被当作祈福庆祝之物，可祈愿好运降临。

此外，簪花作为爱情的象征和祝福，见证着蟳蜅女婚姻的美满幸福。在蟳蜅女的传统婚俗里，新婚当天，新娘身着蓝布衫、宽裤等传统服饰，头戴精美花环，簪花与服饰相互映衬，尽显美丽。这种风俗不仅延续传统婚俗，更是蟳蜅文化的传承展现，承载着人们对美好生活的期许。簪花于古代兼具多重意义，在贵族中是身份象征，玉石珠宝簪花更是彰显地位。蟳蜅村中，簪花成为女性勤劳、坚韧和美丽的象征。蟳蜅女以簪花展示独特魅力，赢得社会认可。簪花的象征意义在不同情境下各有侧重，宋朝簪花还具有官阶区分功能，不同花色、花卉、簪法及材质颜色对应不同官阶。而蟳蜅簪花虽不像宋朝簪花有官阶区分功能，却体现着蟳蜅女的独特文化内涵，与蟳蜅女传统服饰相搭配，使得簪花成为蟳蜅服饰文化中不可或缺的一部分，展示着蟳蜅女的独特魅力与价值。

簪花作为头饰，是蟳蜅服饰文化的重要元素。簪花一开始便展现出蟳蜅女的高雅品味与生
活情调，蟳蜅女对簪花上的鲜花、假花会进行精心挑选搭配，从色彩到形状都追求完美，它同样也是女性展示柔美秀丽的载体。在蟳蜅村，女孩子从小留长发，自十一二岁起会将秀发精心盘于脑后，插满鲜花或假花，形成“粗脚头”发式。这种发式美观大方，承载着蟳蜅女对美的独特理解与追求。簪花与蟳蜅女蓝布衫、宽裤等传统服饰相得益彰，共同塑造出蟳蜅女独特的形象。簪花不仅是头饰，更体现出蟳蜅女对美的执着追求，彰显着蟳蜅服饰文化的魅力。

在海洋信仰层面，头戴鲜花亦成为沿海族群的文化符号。每年农历正月廿九日海神妈祖寿诞之际，福建沿海广泛举行“天香”民间庆典，以鲜花敬奉神灵的习俗在泉州地区颇具影响力。其中，蟳埔女簪花巡游的传统延续至今，这一仪式不仅是对海洋神灵的敬畏表达，更通过集体性的文化实践，强化了沿海族群对海洋文明的精神认同，形成自然崇拜与地域文化交织的独特景观。

====社会功能====

1. 实用功能
簪花围的形制构造深度贴合蟳埔村的地理环境及生产生活需求。早期蟳埔男性多以出海谋生为业，勤劳的蟳埔女性除承担家务劳作外，还需前往海边采收牡蛎。由于海边自然环境风沙较大，且她们需频繁进行低头捡拾牡蛎、弯腰撒网捕鱼等动作，于是蟳埔女选择了不留刘海、将长发整体盘绕于脑后的习惯。簪花围通过多根簪钗固定于发髻的结构，具备较强的稳固性，能有效帮助渔妇在劳作过程中抵御海风侵袭，又可避免头发被海水浸湿或缠绕于渔网，充分体现了实用功能与地域文化的有机统一。

2. 审美功能
蟳埔女对鲜花特别钟爱，她们将鲜花视为重要的装饰元素。其簪花素材主要包含“生花”与“熟花”两类：前者特指各类应季开放的自然花卉；后者则为装饰性绢花，俗称“塑料花”。她们将花环、鲜花与绢花围绕着螺旋髻进行层层装饰，平常日子戴上1-2串花环。在节庆或喜庆场合（如妈祖诞辰），蟳埔村女性通常会投入数小时精心妆扮头饰，要戴5到7串各种不同颜色的花环，并身着盛装，以表示欢庆和喜悦。除了鲜花外还经常佩戴各种精致的发
簪与插梳。蟳埔女们以独特的审美追求，将头上的装饰打造成五彩斑斓的“微型花园”。绚烂的花朵仿佛成为她们生活画卷的点睛之笔，以盖过日常工作的琐碎。

====非遗保护====

自2008年“蟳埔女习俗”被列入国家级非物质文化遗产代表性项目名录后，在“非遗”文旅融合发展与明星效应的双重推动下，簪花围快速走红并发展出一系列写真妆造产业。从符号学的角度来看，文化消费是一种以各种符号彰显主体个性、表达自我价值判断，并且传播符号价值认知、实现群体符号价值认同的社会文化活动。并且，“符”与“物”紧密联系、不可分割，非物质形态的文化产品常常需要以物为符号的载体和视觉化的意义形式。在这个意义上，簪花围逐渐突破地域与文化圈层的限制，其符号意义与传播路径发生了显著重构，从蟳埔社区内部的文化标识转变为具有广泛影响力的视觉消费符号。

2024年1月，联合国教科文组织官方微博发文点赞泉州簪花。4月19日，“泉州鱘埔:头上花园非遗体验”入选中国旅游研究院发布的“2024年非遗旅游体验创新十佳案例”。泉州簪花的“意外”走红，让外乡人不太熟知的国家级非遗“蟳埔女习俗”成功进入大众视野，越来越多的游客通过泉州警花非遗旅游感受“蟳埔女习俗”的文化精神，体验它的审美逸趣。本文试以游客体验的视角，通过分析泉州簪花非遗旅游体验在其历时过程（预期体验、在场体验、追忆体验）中的阶段建构，梳理泉州警花非遗旅游在塑造游客体验的创新思路，进而探析非遗旅游体验创新发展的实现路径，为非遗旅游产品的开发和运营提供有益借鉴。

意识到美是文旅持续盈利的终极密码，从追求美到创造美，形成非遗旅游体验创新生态链，贯穿游客预期体验、在场体验及追忆体验三阶段。一是以“追求美”推动体验设计。调研游客参与非遗体验的审美需求动机，指导非遗产品、活动、场景等美的载体的设计，创造审美对象，激发游客参与体验的兴趣。二是以“创造美”推进非遗挖掘。鼓励游客在体验美的过程中参与美的创造，与游客共同深挖非遗内涵，将非遗元素融入现代生活，创造新的非遗体验形式。三是以“分享美”实现非遗传承与保护。善用网络媒体、社交平台激发游客“分享美”的潜在意愿，了解游客体验感受及评价，通过与顾客的互动交流探究非遗体验创新的新方向，通过反馈及柔性正向引导，促进游客对非遗价值的理解，激发全社会传承保护非遗的主动性。

====参考文献====

[1]宋深江,吕亚持,陈飞峰.蟳埔簪花图案的内涵与创新运用研究[J].西部皮革,2025,47(13):136-139.DOI:10.20143/j.1671-1602.2025.13.136.
[2]林沁,李永轮.福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究[J].美与时代(上),2025,(09):148-151.DOI:10.16129/j.cnki.mysds.2025.09.034.
[3]闫睿欣.作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构[J].粤海风,2025,(05):30-37.DOI:10.16591/j.cnki.44-1332/i.2025.05.010.
[4]福建省泉州市地方标准 DB 3505/T 16—2024

===术语===

1.Hairpin flower adornment 簪花
2.Xunpu lady 蟳埔女
3.Bone marrow 骨笄
4.Mazu 妈祖
5.“thick toed” hairstyle “粗脚头”发式
6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》
7.hair bun 发髻
8.official rank 官阶
9.Bun 圆髻

===问题===

1.簪花围作为国家级非物质文化遗产，其形制与装饰如何体现泉州蟳埔地域的海洋文化特征？
2.从历史上看，蟳埔簪花习俗是如何融合中原汉文化传统与本土闽越文化，并最终形成独特样貌的？
3.简述簪花围制作工艺中“盘发”与“装饰”两个核心步骤的技术要点与文化意涵。
4.簪花在蟳埔女的社会生活中承载了哪些超越审美之外的社会功能与文化象征意义？
5.当代“簪花围”从社区文化标识转变为大众旅游消费符号，这一过程涉及哪些“非遗”保护与发展的核心议题？
6.从“非遗旅游体验创新”的角度，泉州簪花的成功实践提供了哪些可借鉴的路径？

===答案===
1.簪花围的形制与装饰深刻反映了泉州蟳埔村“以海为田”的生存环境与文化适应。在形制上，其核心是将长发全部后梳，盘成扁圆发髻并牢固固定，这一方面便于海边劳作，避免头发被海风扰乱或卷入渔网，另一方面无刘海、光洁额头的处理也适应了多风沙的海洋性气候，体现了实用理性。在装饰上，其材料与意涵均与海洋紧密关联：早期簪花常采用海贝、珊瑚等海洋物产直接打磨制成，形成了独特的海洋材质美学；而其信仰内核则与妈祖崇拜等海洋民间信仰深度融合，例如在“妈祖生”等重要庆典中，簪花围是敬神与巡游的必要装束。因此，簪花围并非单纯的审美装饰，而是融合了生产功能、生态适应与海洋信仰的“地方性知识”的物化载体。
2.蟳埔簪花习俗的源头可追溯至中原汉文化的簪花古礼，汉代已出现以鲜花、金银、绸绢饰发的风尚，唐宋时期尤为鼎盛，《簪花仕女图》即为明证。这一传统随中原士族南迁入闽。在泉州蟳埔，这一习俗与闽越本土的海洋文化及宋元时期泉州海洋贸易带来的多元文化发生了深度交融。其表现为：在核心礼俗观念上继承了中原的“以花为饰”与礼仪美感；在具体形态上，则吸收了古闽越人“贝饰”传统，发展出独具特色的贝雕簪钗，并结合海上丝绸之路传入的异域花卉（如素馨、茉莉）与审美元素，形成了以“簪花围”为标志的、繁复灿烂的视觉体系。因此，它是中原农耕文明礼俗、闽越海洋部落文化、海外贸易城市风尚三重脉络在特定地理空间长期互动的产物。
3.盘发技术：以骨笄分区、红绳捆扎、螺旋盘髻为核心。其技术要点在于利用骨笄作为支撑骨架，通过螺旋盘绕与红绳固定，形成一个稳固、扁平、饱满的圆形基座。这一基座（发髻）被称为“粗脚头”，其牢固性确保了在海洋环境下劳作的实用性，其圆形则蕴含着“圆满”“和谐”的传统文化观念。
装饰艺术：遵循“衬底-主体-点缀”的层次逻辑。首先，以花串环绕发髻形成饱满的基底，以数量（日常1-2串，节庆5-7串）来区分日常与欢庆场景。其次，佩戴玳瑁梳，其功能兼具固定发髻与装饰，玳瑁材质本身源自海洋，是身份与吉祥的象征。最后，插戴边花、钗仔针、金铳针等进行立体点缀，追求色彩对比、形状错落的“锦簇”效果。整个装饰过程，是将头部转化为一个“移动花园”，体现了“天人合一”的审美观，即人与自然的微型生态模拟。
4.年龄与生命阶段标志：女孩自十一二岁起开始盘发簪花，标志步入青春期；新婚时的簪花尤为盛大，是婚俗礼仪的核心环节。
社会身份与美德象征：簪花围是“蟳埔女”的族群标识，象征着女性的勤劳、坚韧与持家能力。其繁复而不失秩序的造型，视觉化了她们“内外兼修”的社群期许。
情感与精神寄托载体：不同花卉的选择寄托个人情感（如爱情祈愿），集体性的簪花活动（如妈祖巡游）则强化了社群认同与海洋信仰。
5.当地社区（尤其是中老年女性）作为文化持有者，从技艺展示者、盘发师到民俗讲解员，其主体角色如何确认，并在旅游收益中获得合理回报，是实现可持续保护的关键。对游客而言，簪花围的意义从“蟳埔女的生活样式”转变为“古典美学体验”和“出片神器”，其承载的海洋历史、社群记忆等深层内涵可能在浅层消费中被稀释。如何通过旅游体验设计有效传递其文化深度，是一大挑战。旅游热吸引年轻一代返乡从事相关行业，为非遗带来了新的传承人群与传播方式，但也可能使传承动机更趋经济化。
6.精准把握社交媒体时代游客对“视觉奇观”与“文化沉浸”的复合需求，将簪花围塑造为兼具东方美学韵味与高互动性的“可穿戴的文化符号”，通过明星效应、社交媒体（如小红书、抖音）的美学化传播，成功激发游客的打卡预期与审美向往。

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==Final Paper==

==Quanzhou Zanhua-- Hairpin Flower Adornment==

==Contents==

1.1Quanzhou Zanhua
1.1.1Introduction
1.1.2Historical Origin
1.1.3Production Process
1.1.4Cultural Significance
1.1.5Social Function
1.1.6Intangible Cultural Heritage Protection
1.2Reference
1.3Terms
1.4Questions
1.5Answers

====Introduction====

The hairpin flower adornment originated from Xianpu Village, Fengze District, Quanzhou City, Fujian Province, and belongs to China's intangible cultural heritage. As an important part of Quanzhou's folk costume culture, the custom of hairpin flowers in Xunpu showcases a quaint charm with its unique hairpin flower headdress and wide sleeved shirt, while carrying ocean memories and folk traditions. Hairpin flower headdress with rich layers of decoration, known as the "walking garden", in terms of form exhibiting unique regional characteristics and cultural connotations in decorative arts. As a unique component of cultural heritage, the hairpin style of the women of Xunpu exudes a unique charm and profound historical atmosphere, embodying local customs, historical memories, and cultural genes.

In 2008, the women's customs of Xunpu, represented by "Zanhua Wei", were included in the second batch of national intangible cultural heritage list, and their cultural value has been widely recognized by the government and society. This is not only a decorative custom, but also a vivid embodiment of Quanzhou's historical and cultural heritage. Through in-depth exploration, protection, and rational development, this ancient culture will be revitalized and shine with new brilliance in the new era, further enriching people's spiritual world, promoting the development of related industries such as culture and tourism, and contributing to the prosperity of local culture and economic growth.

====Historical Origin====

Quanzhou Hairpin Flowers, one of the traditional and ancient head ornaments of the Chinese nation, originated in the Han Dynasty, flourished in the Tang Dynasty, and evolved during the Song Dynasty. The Tang Dynasty painting Court Ladies Adorning Their Hair with Flowers vividly captures the graceful posture of women adorned in splendid attire with flower hairpins. Within the clothing culture of Xunpu, the custom of wearing flower hairpins is distinctive, carrying unique cultural significance. Legend has it that as early as the Han Dynasty, people used fresh flowers, gold and silver, and silk to craft artificial blooms for hair decoration, serving both aesthetic and ceremonial purposes. The custom of flower hairpins among Xunpu women is rich in legend. One tale tells of a Xunpu woman, originally a palace beauty, who was bestowed with a flower hairpin by the emperor, passing down the tradition through generations and adding an aura of mystery and nobility. Another account links the practice to local maritime culture, where male fishermen presented flower hairpins to women as tokens of respect and blessing. Initially, hairpins were often meticulously crafted from materials like seashells and coral. Over time, the designs blended fresh and dried flowers, as well as single blossoms and garlands, with jasmine and other flowers being the most common. The style could also change with the seasons and personal preference. Moreover, flower hairpins serve as essential adornments in Xunpu attire, harmoniously integrating with local garments. They not only highlight the unique charm of Xunpu women but also showcase the distinctive clothing culture of the region.

====Production Process====

The main steps of the hairpin and flower enclosure technique in the women's custom of Xunpu include material preparation, hair styling, decoration, and shaping.

The hair styling tools include a comb, a moderately long red string, a bone comb, etc. If necessary, a wig can be prepared. Decorative components include flower strings, border flowers, small combs, tortoiseshell combs, hairpin needles, golden spear needles, golden flowers, golden swords, etc. It is advisable to choose different flower species for flower skewers, with a quantity of 1 to 5 skewers; Edge flowers can be selected and matched as needed, with a minimum quantity of 1 flower.

First, comb your hair straight, including all the bangs, back to keep your forehead smooth and neat. Starting from the earlobe as the distribution line, use a bone comb to divide your hair into front and back parts. First, comb the back of the hair straight and tie a half height ponytail with a red string; Sort out the front part of the hair, use a bone brace to support and fix the front part of the hair, then merge the front part of the hair into the back part of the hair. Tie the front and back parts of the hair together with a reserved red rope to form the same ponytail, and let the remaining red rope hang naturally on the top of the head. Twist the long ponytail into a slender rope shape, and then spiral the rope shaped ponytail around the hand in a loop by loop manner. The hair loop naturally starts from big to small, and then around the base of the ponytail, the hair loop is twisted into a flat spiral circular bun from small to big, from inside to outside, and then pulled out to fix the bun. A small section of hair at the end of the remaining ponytail is twisted and wrapped around the remaining red string, fixed and wrapped around the base of the ponytail, hidden between the flower clusters or between the flower clusters and the hair bun. Edge flowers are inserted to increase the layering and richness of the headwear, completing the edge flower wearing. The selection of color, shape, and quantity of border flowers should be coordinated with the flower clusters and form a harmonious aesthetic with them. It is advisable to choose edge flowers with bright colors and diverse shapes to reflect the overall colorful and rich floral decoration. Wear a tortoiseshell comb on the front side of the bun, and insert the pin hairpin of the tortoiseshell comb into the center of the bun to assist in fixing, so that the tortoiseshell comb and the overall hairpin flower blend together and complement each other. Insert hairpin needles at the top or side of the bun; Other gold jewelry such as gold flowers and swords can be worn as needed.

====Cultural Significance====

The crab hairpin flower is a distinctive part of the local clothing culture, with different flowers containing unique meanings. For example, peonies symbolize wealth and prosperity, plum blossoms symbolize proud and cool breeze, orchids showcase freshness, chrysanthemums represent integrity and perseverance, and wearers can use this to express their emotions and pursue a spirit of good quality. Hairpin flowers themselves are also auspicious symbols, symbolizing happiness and beauty, and are used as objects of prayer and celebration, wishing for good luck to come.

In addition, the hairpin flower, as a symbol of love and blessing, witnesses the happy and fulfilling marriage of the crab maiden. In the traditional wedding customs of the crab maiden, on the day of the wedding, the bride is dressed in traditional clothing such as a blue shirt and wide pants, and wears a beautiful flower wreath on her head. The hairpin flowers complement the clothing, showing off her beauty. This custom not only continues traditional marriage customs, but also represents the inheritance and display of crab culture, carrying people's expectations for a better life. Hairpins and flowers have multiple meanings in ancient times, serving as a symbol of status among the nobility, and jade jewelry hairpins and flowers further demonstrate status. In Crab Village, hairpin flowers have become a symbol of women's diligence, resilience, and beauty. The crab girl showcases her unique charm with hairpin flowers, winning social recognition. The symbolic significance of hairpin flowers varies in different contexts. In the Song Dynasty, hairpin flowers also had the function of distinguishing official ranks, with different colors, flowers, hairpin techniques, and material colors corresponding to different official ranks. Although the silk hairpin flower does not have the function of distinguishing official ranks like the Song Dynasty silk hairpin flower, it reflects the unique cultural connotation of silk hairpin women. Paired with the traditional clothing of silk hairpin women, silk hairpin flowers have become an indispensable part of silk hairpin clothing culture, showcasing the unique charm and value of silk hairpin women.

The hairpin flower, as a hairstyle, is an important element of the crab's clothing culture. The hairpin flower displays the elegant taste and vitality of the crab maiden from the very beginning
With a lively atmosphere, the crab shaped woman carefully selects and matches the fresh and fake flowers on the hairpin, pursuing perfection in both color and shape. It is also a carrier for women to showcase their softness and beauty. In Crab Village, girls grow long hair from a young age. From the age of eleven or twelve, they carefully tuck their hair behind their heads and stuff it with fresh or fake flowers, forming a "thick toed" hairstyle. This hairstyle is beautiful and elegant, carrying the unique understanding and pursuit of beauty by the crab girl. The hairpin flower and traditional clothing such as the blue cloth shirt and wide pants of the crayfish women complement each other, jointly shaping the unique image of the crayfish women. Hairpin flower is not only a hairstyle, but also reflects the persistent pursuit of beauty by the women of the crab shaped dress, showcasing the charm of the crab shaped dress culture.

At the level of maritime beliefs, wearing flowers on the head has also become a cultural symbol for coastal ethnic groups. On the occasion of the birthday of Mazu, the sea god, on the 29th day of the first lunar month every year, a folk celebration called "Tianxiang" is widely held along the coast of Fujian Province. The custom of worshiping gods with flowers is quite influential in the Quanzhou area. Among them, the tradition of the women's hairpin flower parade in Xunpu continues to this day. This ceremony not only expresses reverence for the marine gods, but also strengthens the spiritual identity of coastal ethnic groups towards marine civilization through collective cultural practices, forming a unique landscape where nature worship and regional culture are intertwined.

====Social Function====

1. Practical functions

The shape and structure of the hairpin flower enclosure are deeply in line with the geographical environment and production and living needs of Xunpu Village. In the early days, many men in Xunpu relied on going out to sea for a living. Diligent women in Xunpu not only took on household chores, but also had to go to the beach to harvest oysters. Due to the strong wind and sand in the natural environment by the seaside, and the frequent need for them to lower their heads to pick oysters, bend down to cast nets and fish, the women of Xunpu chose the habit of not leaving bangs and coiling their long hair around their heads. The hairpin flower enclosure is fixed to the bun structure with multiple hairpin hairpins, which has strong stability and can effectively help fishermen resist the invasion of sea breeze during work. It can also prevent hair from being soaked in seawater or tangled in fishing nets, fully reflecting the organic unity of practical function and regional culture.

2. Aesthetic function

The women of Xunpu have a special love for flowers, and they consider them as important decorative elements. The hairpin materials mainly include two types: "raw flowers" and "ripe flowers": the former specifically refers to various natural flowers that bloom in season; The latter is decorative silk flower, commonly known as "plastic flower". They decorate the spiral bun with layers of flower garlands, fresh flowers, and silk flowers, and wear 1-2 strings of flower garlands on ordinary days. During festivals or festive occasions (such as Mazu's birthday), women in Xunpu Village usually spend several hours carefully decorating their hairstyle wearing 5 to 7 different colored flower garlands, and dressed in formal attire to express celebration and joy. In addition to flowers, she often wears various exquisite hair and inserting comb. The women of Xunpu create a colorful "miniature garden" with their unique aesthetic pursuit by decorating their heads. The dazzling flowers seem to be the finishing touch of their life, overshadowing the trivialities of daily work.

====Intangible Cultural Heritage Protection====

Since the inclusion of the "Crab Pond Women's Customs" in the national intangible cultural heritage representative project list in 2008, with the dual promotion of the integration of "intangible cultural heritage" culture and tourism and the star effect, Zanhuawei has quickly become popular and developed a series of photo and makeup industries. From the perspective of semiotics, cultural consumption is a social and cultural activity that uses various symbols to showcase individual personalities, express self-worth judgments, and disseminate symbolic value cognition, achieving group symbolic value recognition. Moreover, "symbol" and "object" are closely related and inseparable, and non-material cultural products often require objects as carriers of symbols and visual forms of meaning. In this sense, the hairpin flower enclosure has gradually broken through the limitations of geographical and cultural circles, and its symbolic meaning and dissemination path have undergone significant reconstruction, transforming from a cultural identity within the community to a widely influential visual consumption symbol.

In January 2024, the official Weibo account of UNESCO gave a thumbs up to Quanzhou Zanhua. On April 19th, "Quanzhou Sturgeon Pond: Head Garden Intangible Cultural Heritage Experience" was selected as one of the "Top 10 Innovative Cases of Intangible Cultural Heritage Tourism Experience in 2024" released by the China Tourism Research Institute. The unexpected popularity of Quanzhou hairpin flowers has brought the national intangible cultural heritage "Crab Pu Women's Customs", which is not well-known to outsiders, into the public eye. More and more tourists are experiencing the cultural spirit of "Crab Pu Women's Customs" and its aesthetic charm through Quanzhou police flower intangible cultural heritage tourism. This article attempts to analyze the stage construction of Quanzhou hairpin flower intangible cultural heritage tourism experience from the perspective of tourist experience (expected experience, on-site experience, reminiscence experience), sort out the innovative ideas of Quanzhou police flower intangible cultural heritage tourism in shaping tourist experience, and then explore the implementation path of innovative development of intangible cultural heritage tourism experience, providing useful reference for the development and operation of intangible cultural heritage tourism products.

Realizing that beauty is the ultimate password for sustained profitability in cultural tourism, from pursuing beauty to creating beauty, we have formed an innovative ecological chain for intangible cultural heritage tourism experience, which runs through the three stages of tourists' expected experience, on-site experience, and reminiscence experience. One is to promote experiential design through the pursuit of beauty. Conduct research on the aesthetic needs and motivations of tourists participating in intangible cultural heritage experiences, guide the design of aesthetic carriers such as intangible cultural heritage products, activities, and scenes, create aesthetic objects, and stimulate tourists' interest in participating in experiences. The second is to promote the excavation of intangible cultural heritage through "creating beauty". Encourage tourists to participate in the creation of beauty during the process of experiencing it, explore the connotation of intangible cultural heritage together with tourists, integrate intangible cultural heritage elements into modern life, and create new forms of intangible cultural heritage experience. The third is to achieve the inheritance and protection of intangible cultural heritage through "sharing beauty". Make good use of online media and social platforms to stimulate tourists' potential willingness to "share beauty", understand tourists' experience, feelings, and evaluations, explore new directions for innovation in intangible cultural heritage experience through interactive communication with customers, promote tourists' understanding of the value of intangible cultural heritage through feedback and flexible positive guidance, and stimulate the initiative of the whole society to inherit and protect intangible cultural heritage.

===Reference===

1.Lin, Q., & Li, Y. (2025). 福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究 [A study on the form and decorative artistic characteristics of the Zanhua headdress in Xunpu Village, Quanzhou, Fujian]. 美与时代(上)[Beauty & Times], (09), 148–151. <https://doi.org/10.16129/j.cnki.mysds.2025.09.034>

2.Song, S., Lü, Y., & Chen, F. (2025). 蟳埔簪花图案的内涵与创新运用研究 [A study on the connotation and innovative application of Xunpu Zanhua patterns]. 西部皮革[West Leather], 47(13), 136–139. <https://doi.org/10.20143/j.1671-1602.2025.13.136>

3.Yan, R. (2025). 作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构 [The Zanhua headdress as a visual symbol: Folklorism and meaning reconstruction in the photo-taking experience]. 粤海风[Yuehai Style], (05), 30–37. <https://doi.org/10.16591/j.cnki.44-1332/i.2025.05.010>

4. Local Standard DB 3505/T 16-2024 of Quanzhou City, Fujian Province

===Terms===

1.Hairpin flower adornment 簪花

2.Xunpu lady 蟳埔女

3.Bone marrow 骨笄

4.Mazu 妈祖

5.“thick toed” hairstyle “粗脚头”发式

6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》

7.hair bun 发髻

8.official rank 官阶

9.Bun 圆髻

===Questions===

1. As a national intangible cultural heritage, how do the form and decoration of the Zanhua Wei headdress reflect the maritime cultural characteristics of the Xunpu region in Quanzhou?

2. Historically, how did the Xunpu Zanhua custom integrate traditions from the Han culture of the Central Plains with indigenous Min-Yue culture, ultimately forming its unique appearance?

3. Briefly describe the technical essentials and cultural significance of the two core steps—“hair coiling” and “decoration”—in the crafting process of the floral hairpin headdress.

4. What social functions and cultural symbolic meanings beyond aesthetics does the floral hairpin bear in the social life of women in Xunpu?

5. As contemporary “flower-adorned headdresses” transition from community cultural symbols to mass tourism consumption icons, what core issues concerning intangible cultural heritage (ICH) preservation and development does this process involve?

6. From the perspective of “innovative ICH tourism experiences”, what replicable pathways does the successful practice of Quanzhou flower-adorned headdresses offer?

===Answers===

1.The design and ornamentation of the flower-adorned headdress profoundly reflect the survival environment and cultural adaptation of Quanzhou's Xunpu Village, where the sea serves as their field. In form, the core practice involves combing all long hair backward into a flat, round bun secured tightly. This not only facilitates coastal labor by preventing hair from being tangled by sea winds or caught in fishing nets, but also adapts to the windy, sandy maritime climate through the absence of bangs and a clean forehead—a manifestation of practical rationality. In terms of ornamentation, both materials and symbolism are intrinsically linked to the sea: early floral hairpins were often crafted directly from polished marine products like seashells and coral, establishing a distinctive aesthetic rooted in oceanic materials. Its spiritual core is deeply intertwined with maritime folk beliefs such as Mazu worship. For instance, during significant celebrations like the “Birthday of Mazu”, the floral hairpin headdress is essential attire for divine offerings and processions. Thus, the floral hairpin headdress transcends mere aesthetic ornamentation, embodying as a material carrier the “local knowledge” that synthesizes productive function, ecological adaptation, and maritime faith.

2. The origins of the flower-pinning custom in Xunpu trace back to the ancient ritual of adorning hair with flowers in Han Chinese culture. The practice of decorating hair with fresh flowers, gold, silver, and silk emerged during the Han Dynasty, reaching its peak during the Tang and Song periods, as vividly depicted in the “Ladies Adorning Their Hair with Flowers” painting. This tradition migrated southward to Fujian with the relocation of Central Plains gentry. In Quanzhou's Xunpu region, the custom underwent profound fusion with the indigenous marine culture of the Minyue people and the multicultural influences brought by Quanzhou's maritime trade during the Song and Yuan dynasties. This integration manifested as follows: while in form, it absorbed the ancient Minyue tradition of “shell ornamentation”, developing distinctive shell-carved hairpins and hair combs. Combined with exotic flowers (such as jasmine and gardenia) and aesthetic elements introduced via the Maritime Silk Road, this evolved into a complex and dazzling visual system symbolized by the “flower-adorned headdress”. Thus, it represents the long-term interaction within a specific geographical space of three cultural strands: the ritual customs of Central Plains agrarian civilization, the maritime tribal culture of Minyue, and the urban fashions of overseas trading cities.
3. Hair-Styling Technique: Centered on bone hairpins for sectioning, red cord binding, and spiral coiling. The technical essence lies in using bone hairpins as a supporting framework. Through spiral coiling and red cord fixation, a stable, flat, and full circular base is formed. This base (the bun) is called the “coarse foot head”. Its sturdiness ensured practicality for labor in maritime environments, while its circular shape embodied traditional cultural concepts of “perfection” and “harmony”.

Decorative Artistry: Follows a layered logic of “base-body-accent”. First, floral garlands encircle the bun to create a full foundation, with quantity (1-2 garlands for daily wear, 5-7 for celebrations) distinguishing routine from festive occasions. Second, a tortoiseshell comb secures the bun while serving as ornamentation. Derived from the sea, tortoiseshell symbolizes status and auspiciousness. Finally, three-dimensional accents like floral hairpins, hairpins, and gold-tipped pins create a “cluster of brocade” effect through contrasting colors and staggered shapes. This entire adornment process transforms the head into a “mobile garden”, embodying the aesthetic concept of “unity between heaven and humanity”—a microcosmic simulation of the relationship between humans and nature.

4. Age and Life Stage Markers: Girls begin styling their hair with floral pins around age 11 or 12, marking their entry into adolescence. Floral pins worn during weddings are particularly elaborate, forming a central element of marriage rituals.

Social Identity and Virtue Symbol: The flower-adorned headdress serves as an ethnic identifier for the “Xunpu women”, symbolizing female diligence, resilience, and domestic competence. Its intricate yet orderly design visually embodies the community's expectation of women cultivating both inner and outer virtues.
Vessel for Emotions and Spirituality: The choice of flowers conveys personal sentiments (such as love wishes), while collective flower-pinning activities (like Mazu processions) reinforce community identity and maritime faith.

5. Local communities (especially middle-aged and elderly women) serve as cultural custodians—from skill demonstrators and hairstylists to folklore interpreters. Confirming their central role and ensuring fair returns from tourism revenue are key to sustainable preservation. For tourists, the significance of hairpin-adorned headdresses has shifted from representing “the lifestyle of women in the coastal villages” to becoming a “classical aesthetic experience” and a “photo prop”. The deeper connotations it carries—such as maritime history and communal memory—may be diluted in superficial consumption. Effectively conveying its cultural depth through tourism experience design presents a major challenge. The tourism boom attracts younger generations to return home and engage in related industries, bringing new inheritors and dissemination methods to intangible cultural heritage. However, this may also make the motivation for inheritance more economically driven.

6. Precisely addressing tourists’ dual demands for “visual spectacles” and “cultural immersion” in the social media era, the flower headdress has been reimagined as a “wearable cultural symbol” blending Eastern aesthetic charm with high interactivity. Leveraging celebrity influence and aestheticized dissemination through platforms like Xiaohongshu and Douyin, it has successfully ignited tourists' desire for photo opportunities and aesthetic aspirations.

==期末论文==

==泉州簪花==

==目录==

1.1泉州簪花
1.1.1引言
1.1.2历史渊源
1.1.3制作工艺
1.1.4文化意义
1.1.5社会功能
1.1.6非遗保护
1.2参考文献
1.3术语
1.4问题
1.5答案

====引言====

簪花围头饰发源于福建省泉州市丰泽区蟳埔村，属于我国非物质文化遗产。作为泉州民俗服饰文化的重要组成部分，蟳埔簪花习俗以其独特的簪花头饰与阔袖上衣展现出古朴韵味，同时承载着海洋记忆与民间传统。簪花围头饰装扮层次丰富，被誉为“行走的花园”，在形制
与装饰艺术上展现出独特的地域特色和文化内涵。蟳埔女的簪花发式作为文化遗产的独特构成，散发着独特魅力与深厚历史气息，凝结着地方民俗、历史记忆与文化基因。

2008年，以“簪花围”为代表的蟳埔女习俗被列入第二批国家级非物质文化遗产名录，其文化价值已获得官方与社会广泛认同。这不仅是装饰性的习俗，更是泉州历史文化的一种生动体现。对其进行深入挖掘、保护与合理开发，将使这一古老文化焕发新生机，在新时期绽放新光彩，进一步丰富人们的精神世界，推动文旅等相关产业发展，为地方文化繁荣与经济提升贡献力量。

====历史渊源====

簪花，作为中华民族传统而古老的头饰之一，始于汉代、兴于唐朝、发展于宋朝。唐朝的《簪花仕女图》清晰地展示了女子身着华丽服饰、头戴簪花时的优雅姿态。在蟳蜅服饰文化中，簪花习俗别具一格，承载着独特内涵。据传，汉朝时人们就会用鲜花、金银、绸绢等制成假花来装饰发髻，具美颜与礼仪之效。蟳蜅女的簪花习俗充满传奇色彩，一种说法是一位蟳蜅女原为宫中佳人，获皇帝御赐簪花，并将这种习俗代代传，增添神秘尊贵气息；另一种说法与当地海洋文化有关，即男性渔民以簪花赠与女性，表示敬仰祝福。最初簪花多采用海贝、珊瑚等材质进行匠心打造。随着时间推移，簪花融合生花与熟花、单支花卉与花串，其中以素馨、茉莉等花卉最为常见，并且可随四季与喜好变换。同时，簪花是蟳蜅服饰的重要装饰，与当地服饰完美融合，既展现了蟳蜅女独特魅力，也彰显出蟳蜅独特的服饰文化。

====制作工艺====

蟳埔女习俗簪花围技艺主要步骤包括材料准备、盘发、装饰、成型。

盘发工具包括梳子、长度适中的红绳、骨笄等，必要时可准备假发。装饰部件包括花串、边花、小插梳、玳瑁梳、钗仔针、金铳针、金花、金剑等。花串宜选择不同花种，数量宜以1串～5串；边花可按需选择搭配，数量至少为1朵。

先将头发梳理顺直，连同刘海全部往后梳，保持额头的光洁整齐，以约耳廓处为分发线起点，用骨笄将头发分为前后两部分。先将后部分头发梳理顺直，用红绳系起半高马尾；梳理前部分头发，用骨笄支撑固定住前部分头发，再将前部分头发合并至后部分头发，前后两部分头发用预留的红绳合扎成同一个马尾，剩余的红绳自然垂放于头顶中。将长马尾辫拧成一股细长绳状，再将绳状马尾一圈一圈螺旋式绕到手上，发圈自然由大及小，接着以马尾根部为中心，将发圈由小及大、由里及外，一圈圈盘按成扁平螺旋状圆形发髻，紧接着抽出骨笄固定圆髻。剩余马尾发尾一小截头发，与留存的红绳合拧缠绕、将其固定环绕于马尾根部隐藏在花串之间或花串与发髻之间的间隙中，插入边花，以增加头饰的层次感和丰富度，完成边花佩戴。边花的颜色、形状和数量的选择要与花串相协调，并与花串形成和谐美感。宜选用颜色明艳、形状各异的边花，以体现整体花饰的多彩、丰富。在发髻前侧面戴上玳瑁梳，玳瑁梳针脚簪插于发髻中心辅助固定，使玳瑁梳与整体簪花融为一体相得益彰。在发髻的顶部或侧面，插上钗仔针；金花、金剑等其他金饰可按需佩戴。

====文化意义====

蟳蜅簪花是当地服饰文化中极具特色的部分，不同花卉均蕴含独特寓意，如牡丹象征富贵，梅花寓意傲骨清风，兰花彰显清新，菊花代表节操与坚韧不拔，佩戴者可借此寄托情感，表达对美好品质精神的追求。簪花本身也是吉祥象征，寓意着幸福美好，被当作祈福庆祝之物，可祈愿好运降临。

此外，簪花作为爱情的象征和祝福，见证着蟳蜅女婚姻的美满幸福。在蟳蜅女的传统婚俗里，新婚当天，新娘身着蓝布衫、宽裤等传统服饰，头戴精美花环，簪花与服饰相互映衬，尽显美丽。这种风俗不仅延续传统婚俗，更是蟳蜅文化的传承展现，承载着人们对美好生活的期许。簪花于古代兼具多重意义，在贵族中是身份象征，玉石珠宝簪花更是彰显地位。蟳蜅村中，簪花成为女性勤劳、坚韧和美丽的象征。蟳蜅女以簪花展示独特魅力，赢得社会认可。簪花的象征意义在不同情境下各有侧重，宋朝簪花还具有官阶区分功能，不同花色、花卉、簪法及材质颜色对应不同官阶。而蟳蜅簪花虽不像宋朝簪花有官阶区分功能，却体现着蟳蜅女的独特文化内涵，与蟳蜅女传统服饰相搭配，使得簪花成为蟳蜅服饰文化中不可或缺的一部分，展示着蟳蜅女的独特魅力与价值。

簪花作为头饰，是蟳蜅服饰文化的重要元素。簪花一开始便展现出蟳蜅女的高雅品味与生
活情调，蟳蜅女对簪花上的鲜花、假花会进行精心挑选搭配，从色彩到形状都追求完美，它同样也是女性展示柔美秀丽的载体。在蟳蜅村，女孩子从小留长发，自十一二岁起会将秀发精心盘于脑后，插满鲜花或假花，形成“粗脚头”发式。这种发式美观大方，承载着蟳蜅女对美的独特理解与追求。簪花与蟳蜅女蓝布衫、宽裤等传统服饰相得益彰，共同塑造出蟳蜅女独特的形象。簪花不仅是头饰，更体现出蟳蜅女对美的执着追求，彰显着蟳蜅服饰文化的魅力。

在海洋信仰层面，头戴鲜花亦成为沿海族群的文化符号。每年农历正月廿九日海神妈祖寿诞之际，福建沿海广泛举行“天香”民间庆典，以鲜花敬奉神灵的习俗在泉州地区颇具影响力。其中，蟳埔女簪花巡游的传统延续至今，这一仪式不仅是对海洋神灵的敬畏表达，更通过集体性的文化实践，强化了沿海族群对海洋文明的精神认同，形成自然崇拜与地域文化交织的独特景观。

====社会功能====

1. 实用功能
簪花围的形制构造深度贴合蟳埔村的地理环境及生产生活需求。早期蟳埔男性多以出海谋生为业，勤劳的蟳埔女性除承担家务劳作外，还需前往海边采收牡蛎。由于海边自然环境风沙较大，且她们需频繁进行低头捡拾牡蛎、弯腰撒网捕鱼等动作，于是蟳埔女选择了不留刘海、将长发整体盘绕于脑后的习惯。簪花围通过多根簪钗固定于发髻的结构，具备较强的稳固性，能有效帮助渔妇在劳作过程中抵御海风侵袭，又可避免头发被海水浸湿或缠绕于渔网，充分体现了实用功能与地域文化的有机统一。

2. 审美功能
蟳埔女对鲜花特别钟爱，她们将鲜花视为重要的装饰元素。其簪花素材主要包含“生花”与“熟花”两类：前者特指各类应季开放的自然花卉；后者则为装饰性绢花，俗称“塑料花”。她们将花环、鲜花与绢花围绕着螺旋髻进行层层装饰，平常日子戴上1-2串花环。在节庆或喜庆场合（如妈祖诞辰），蟳埔村女性通常会投入数小时精心妆扮头饰，要戴5到7串各种不同颜色的花环，并身着盛装，以表示欢庆和喜悦。除了鲜花外还经常佩戴各种精致的发
簪与插梳。蟳埔女们以独特的审美追求，将头上的装饰打造成五彩斑斓的“微型花园”。绚烂的花朵仿佛成为她们生活画卷的点睛之笔，以盖过日常工作的琐碎。

====非遗保护====

自2008年“蟳埔女习俗”被列入国家级非物质文化遗产代表性项目名录后，在“非遗”文旅融合发展与明星效应的双重推动下，簪花围快速走红并发展出一系列写真妆造产业。从符号学的角度来看，文化消费是一种以各种符号彰显主体个性、表达自我价值判断，并且传播符号价值认知、实现群体符号价值认同的社会文化活动。并且，“符”与“物”紧密联系、不可分割，非物质形态的文化产品常常需要以物为符号的载体和视觉化的意义形式。在这个意义上，簪花围逐渐突破地域与文化圈层的限制，其符号意义与传播路径发生了显著重构，从蟳埔社区内部的文化标识转变为具有广泛影响力的视觉消费符号。

2024年1月，联合国教科文组织官方微博发文点赞泉州簪花。4月19日，“泉州鱘埔:头上花园非遗体验”入选中国旅游研究院发布的“2024年非遗旅游体验创新十佳案例”。泉州簪花的“意外”走红，让外乡人不太熟知的国家级非遗“蟳埔女习俗”成功进入大众视野，越来越多的游客通过泉州警花非遗旅游感受“蟳埔女习俗”的文化精神，体验它的审美逸趣。本文试以游客体验的视角，通过分析泉州簪花非遗旅游体验在其历时过程（预期体验、在场体验、追忆体验）中的阶段建构，梳理泉州警花非遗旅游在塑造游客体验的创新思路，进而探析非遗旅游体验创新发展的实现路径，为非遗旅游产品的开发和运营提供有益借鉴。

意识到美是文旅持续盈利的终极密码，从追求美到创造美，形成非遗旅游体验创新生态链，贯穿游客预期体验、在场体验及追忆体验三阶段。一是以“追求美”推动体验设计。调研游客参与非遗体验的审美需求动机，指导非遗产品、活动、场景等美的载体的设计，创造审美对象，激发游客参与体验的兴趣。二是以“创造美”推进非遗挖掘。鼓励游客在体验美的过程中参与美的创造，与游客共同深挖非遗内涵，将非遗元素融入现代生活，创造新的非遗体验形式。三是以“分享美”实现非遗传承与保护。善用网络媒体、社交平台激发游客“分享美”的潜在意愿，了解游客体验感受及评价，通过与顾客的互动交流探究非遗体验创新的新方向，通过反馈及柔性正向引导，促进游客对非遗价值的理解，激发全社会传承保护非遗的主动性。

====参考文献====

[1]宋深江,吕亚持,陈飞峰.蟳埔簪花图案的内涵与创新运用研究[J].西部皮革,2025,47(13):136-139.DOI:10.20143/j.1671-1602.2025.13.136.

[2]林沁,李永轮.福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究[J].美与时代(上),2025,(09):148-151.DOI:10.16129/j.cnki.mysds.2025.09.034.

[3]闫睿欣.作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构[J].粤海风,2025,(05):30-37.DOI:10.16591/j.cnki.44-1332/i.2025.05.010.

[4]福建省泉州市地方标准 DB 3505/T 16—2024

===术语===

1.Hairpin flower adornment 簪花

2.Xunpu lady 蟳埔女

3.Bone marrow 骨笄

4.Mazu 妈祖

5.“thick toed” hairstyle “粗脚头”发式

6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》

7.hair bun 发髻

8.official rank 官阶

9.Bun 圆髻

===问题===

1.簪花围作为国家级非物质文化遗产，其形制与装饰如何体现泉州蟳埔地域的海洋文化特征？

2.从历史上看，蟳埔簪花习俗是如何融合中原汉文化传统与本土闽越文化，并最终形成独特样貌的？

3.简述簪花围制作工艺中“盘发”与“装饰”两个核心步骤的技术要点与文化意涵。

4.簪花在蟳埔女的社会生活中承载了哪些超越审美之外的社会功能与文化象征意义？

5.当代“簪花围”从社区文化标识转变为大众旅游消费符号，这一过程涉及哪些“非遗”保护与发展的核心议题？

6.从“非遗旅游体验创新”的角度，泉州簪花的成功实践提供了哪些可借鉴的路径？

===答案===

1.簪花围的形制与装饰深刻反映了泉州蟳埔村“以海为田”的生存环境与文化适应。在形制上，其核心是将长发全部后梳，盘成扁圆发髻并牢固固定，这一方面便于海边劳作，避免头发被海风扰乱或卷入渔网，另一方面无刘海、光洁额头的处理也适应了多风沙的海洋性气候，体现了实用理性。在装饰上，其材料与意涵均与海洋紧密关联：早期簪花常采用海贝、珊瑚等海洋物产直接打磨制成，形成了独特的海洋材质美学；而其信仰内核则与妈祖崇拜等海洋民间信仰深度融合，例如在“妈祖生”等重要庆典中，簪花围是敬神与巡游的必要装束。因此，簪花围并非单纯的审美装饰，而是融合了生产功能、生态适应与海洋信仰的“地方性知识”的物化载体。

2.蟳埔簪花习俗的源头可追溯至中原汉文化的簪花古礼，汉代已出现以鲜花、金银、绸绢饰发的风尚，唐宋时期尤为鼎盛，《簪花仕女图》即为明证。这一传统随中原士族南迁入闽。在泉州蟳埔，这一习俗与闽越本土的海洋文化及宋元时期泉州海洋贸易带来的多元文化发生了深度交融。其表现为：在核心礼俗观念上继承了中原的“以花为饰”与礼仪美感；在具体形态上，则吸收了古闽越人“贝饰”传统，发展出独具特色的贝雕簪钗，并结合海上丝绸之路传入的异域花卉（如素馨、茉莉）与审美元素，形成了以“簪花围”为标志的、繁复灿烂的视觉体系。因此，它是中原农耕文明礼俗、闽越海洋部落文化、海外贸易城市风尚三重脉络在特定地理空间长期互动的产物。

3.盘发技术：以骨笄分区、红绳捆扎、螺旋盘髻为核心。其技术要点在于利用骨笄作为支撑骨架，通过螺旋盘绕与红绳固定，形成一个稳固、扁平、饱满的圆形基座。这一基座（发髻）被称为“粗脚头”，其牢固性确保了在海洋环境下劳作的实用性，其圆形则蕴含着“圆满”“和谐”的传统文化观念。

装饰艺术：遵循“衬底-主体-点缀”的层次逻辑。首先，以花串环绕发髻形成饱满的基底，以数量（日常1-2串，节庆5-7串）来区分日常与欢庆场景。其次，佩戴玳瑁梳，其功能兼具固定发髻与装饰，玳瑁材质本身源自海洋，是身份与吉祥的象征。最后，插戴边花、钗仔针、金铳针等进行立体点缀，追求色彩对比、形状错落的“锦簇”效果。整个装饰过程，是将头部转化为一个“移动花园”，体现了“天人合一”的审美观，即人与自然的微型生态模拟。

4.年龄与生命阶段标志：女孩自十一二岁起开始盘发簪花，标志步入青春期；新婚时的簪花尤为盛大，是婚俗礼仪的核心环节。

社会身份与美德象征：簪花围是“蟳埔女”的族群标识，象征着女性的勤劳、坚韧与持家能力。其繁复而不失秩序的造型，视觉化了她们“内外兼修”的社群期许。

情感与精神寄托载体：不同花卉的选择寄托个人情感（如爱情祈愿），集体性的簪花活动（如妈祖巡游）则强化了社群认同与海洋信仰。

5.当地社区（尤其是中老年女性）作为文化持有者，从技艺展示者、盘发师到民俗讲解员，其主体角色如何确认，并在旅游收益中获得合理回报，是实现可持续保护的关键。对游客而言，簪花围的意义从“蟳埔女的生活样式”转变为“古典美学体验”和“出片神器”，其承载的海洋历史、社群记忆等深层内涵可能在浅层消费中被稀释。如何通过旅游体验设计有效传递其文化深度，是一大挑战。旅游热吸引年轻一代返乡从事相关行业，为非遗带来了新的传承人群与传播方式，但也可能使传承动机更趋经济化。

6.精准把握社交媒体时代游客对“视觉奇观”与“文化沉浸”的复合需求，将簪花围塑造为兼具东方美学韵味与高互动性的“可穿戴的文化符号”，通过明星效应、社交媒体（如小红书、抖音）的美学化传播，成功激发游客的打卡预期与审美向往。

Talk:Main Page

2025-12-30T15:17:20Z

Zeng Lin: /* 期末论文 */

My name is Han Jiayan. I’m a 2025-level Korean Translation and Interpretation major,and I come from Yanbian, Jilin Province..

==Final Paper==

==Quanzhou Zanhua-- Hairpin Flower Adornment==

==Contents==

1.1Quanzhou Zanhua
1.1.1Introduction
1.1.2Historical Origin
1.1.3Production Process
1.1.4Cultural Significance
1.1.5Social Function
1.1.6Intangible Cultural Heritage Protection
1.2Reference
1.3Terms
1.4Questions
1.5Answers

====Introduction====

The hairpin flower adornment originated from Xianpu Village, Fengze District, Quanzhou City, Fujian Province, and belongs to China's intangible cultural heritage. As an important part of Quanzhou's folk costume culture, the custom of hairpin flowers in Xunpu showcases a quaint charm with its unique hairpin flower headdress and wide sleeved shirt, while carrying ocean memories and folk traditions. Hairpin flower headdress with rich layers of decoration, known as the "walking garden", in terms of form exhibiting unique regional characteristics and cultural connotations in decorative arts. As a unique component of cultural heritage, the hairpin style of the women of Xunpu exudes a unique charm and profound historical atmosphere, embodying local customs, historical memories, and cultural genes.

In 2008, the women's customs of Xunpu, represented by "Zanhua Wei", were included in the second batch of national intangible cultural heritage list, and their cultural value has been widely recognized by the government and society. This is not only a decorative custom, but also a vivid embodiment of Quanzhou's historical and cultural heritage. Through in-depth exploration, protection, and rational development, this ancient culture will be revitalized and shine with new brilliance in the new era, further enriching people's spiritual world, promoting the development of related industries such as culture and tourism, and contributing to the prosperity of local culture and economic growth.

====Historical Origin====

Quanzhou Hairpin Flowers, one of the traditional and ancient head ornaments of the Chinese nation, originated in the Han Dynasty, flourished in the Tang Dynasty, and evolved during the Song Dynasty. The Tang Dynasty painting Court Ladies Adorning Their Hair with Flowers vividly captures the graceful posture of women adorned in splendid attire with flower hairpins. Within the clothing culture of Xunpu, the custom of wearing flower hairpins is distinctive, carrying unique cultural significance. Legend has it that as early as the Han Dynasty, people used fresh flowers, gold and silver, and silk to craft artificial blooms for hair decoration, serving both aesthetic and ceremonial purposes. The custom of flower hairpins among Xunpu women is rich in legend. One tale tells of a Xunpu woman, originally a palace beauty, who was bestowed with a flower hairpin by the emperor, passing down the tradition through generations and adding an aura of mystery and nobility. Another account links the practice to local maritime culture, where male fishermen presented flower hairpins to women as tokens of respect and blessing. Initially, hairpins were often meticulously crafted from materials like seashells and coral. Over time, the designs blended fresh and dried flowers, as well as single blossoms and garlands, with jasmine and other flowers being the most common. The style could also change with the seasons and personal preference. Moreover, flower hairpins serve as essential adornments in Xunpu attire, harmoniously integrating with local garments. They not only highlight the unique charm of Xunpu women but also showcase the distinctive clothing culture of the region.

====Production Process====

The main steps of the hairpin and flower enclosure technique in the women's custom of Xunpu include material preparation, hair styling, decoration, and shaping.

The hair styling tools include a comb, a moderately long red string, a bone comb, etc. If necessary, a wig can be prepared. Decorative components include flower strings, border flowers, small combs, tortoiseshell combs, hairpin needles, golden spear needles, golden flowers, golden swords, etc. It is advisable to choose different flower species for flower skewers, with a quantity of 1 to 5 skewers; Edge flowers can be selected and matched as needed, with a minimum quantity of 1 flower.

First, comb your hair straight, including all the bangs, back to keep your forehead smooth and neat. Starting from the earlobe as the distribution line, use a bone comb to divide your hair into front and back parts. First, comb the back of the hair straight and tie a half height ponytail with a red string; Sort out the front part of the hair, use a bone brace to support and fix the front part of the hair, then merge the front part of the hair into the back part of the hair. Tie the front and back parts of the hair together with a reserved red rope to form the same ponytail, and let the remaining red rope hang naturally on the top of the head. Twist the long ponytail into a slender rope shape, and then spiral the rope shaped ponytail around the hand in a loop by loop manner. The hair loop naturally starts from big to small, and then around the base of the ponytail, the hair loop is twisted into a flat spiral circular bun from small to big, from inside to outside, and then pulled out to fix the bun. A small section of hair at the end of the remaining ponytail is twisted and wrapped around the remaining red string, fixed and wrapped around the base of the ponytail, hidden between the flower clusters or between the flower clusters and the hair bun. Edge flowers are inserted to increase the layering and richness of the headwear, completing the edge flower wearing. The selection of color, shape, and quantity of border flowers should be coordinated with the flower clusters and form a harmonious aesthetic with them. It is advisable to choose edge flowers with bright colors and diverse shapes to reflect the overall colorful and rich floral decoration. Wear a tortoiseshell comb on the front side of the bun, and insert the pin hairpin of the tortoiseshell comb into the center of the bun to assist in fixing, so that the tortoiseshell comb and the overall hairpin flower blend together and complement each other. Insert hairpin needles at the top or side of the bun; Other gold jewelry such as gold flowers and swords can be worn as needed.

====Cultural Significance====

The crab hairpin flower is a distinctive part of the local clothing culture, with different flowers containing unique meanings. For example, peonies symbolize wealth and prosperity, plum blossoms symbolize proud and cool breeze, orchids showcase freshness, chrysanthemums represent integrity and perseverance, and wearers can use this to express their emotions and pursue a spirit of good quality. Hairpin flowers themselves are also auspicious symbols, symbolizing happiness and beauty, and are used as objects of prayer and celebration, wishing for good luck to come.

In addition, the hairpin flower, as a symbol of love and blessing, witnesses the happy and fulfilling marriage of the crab maiden. In the traditional wedding customs of the crab maiden, on the day of the wedding, the bride is dressed in traditional clothing such as a blue shirt and wide pants, and wears a beautiful flower wreath on her head. The hairpin flowers complement the clothing, showing off her beauty. This custom not only continues traditional marriage customs, but also represents the inheritance and display of crab culture, carrying people's expectations for a better life. Hairpins and flowers have multiple meanings in ancient times, serving as a symbol of status among the nobility, and jade jewelry hairpins and flowers further demonstrate status. In Crab Village, hairpin flowers have become a symbol of women's diligence, resilience, and beauty. The crab girl showcases her unique charm with hairpin flowers, winning social recognition. The symbolic significance of hairpin flowers varies in different contexts. In the Song Dynasty, hairpin flowers also had the function of distinguishing official ranks, with different colors, flowers, hairpin techniques, and material colors corresponding to different official ranks. Although the silk hairpin flower does not have the function of distinguishing official ranks like the Song Dynasty silk hairpin flower, it reflects the unique cultural connotation of silk hairpin women. Paired with the traditional clothing of silk hairpin women, silk hairpin flowers have become an indispensable part of silk hairpin clothing culture, showcasing the unique charm and value of silk hairpin women.

The hairpin flower, as a hairstyle, is an important element of the crab's clothing culture. The hairpin flower displays the elegant taste and vitality of the crab maiden from the very beginning
With a lively atmosphere, the crab shaped woman carefully selects and matches the fresh and fake flowers on the hairpin, pursuing perfection in both color and shape. It is also a carrier for women to showcase their softness and beauty. In Crab Village, girls grow long hair from a young age. From the age of eleven or twelve, they carefully tuck their hair behind their heads and stuff it with fresh or fake flowers, forming a "thick toed" hairstyle. This hairstyle is beautiful and elegant, carrying the unique understanding and pursuit of beauty by the crab girl. The hairpin flower and traditional clothing such as the blue cloth shirt and wide pants of the crayfish women complement each other, jointly shaping the unique image of the crayfish women. Hairpin flower is not only a hairstyle, but also reflects the persistent pursuit of beauty by the women of the crab shaped dress, showcasing the charm of the crab shaped dress culture.

At the level of maritime beliefs, wearing flowers on the head has also become a cultural symbol for coastal ethnic groups. On the occasion of the birthday of Mazu, the sea god, on the 29th day of the first lunar month every year, a folk celebration called "Tianxiang" is widely held along the coast of Fujian Province. The custom of worshiping gods with flowers is quite influential in the Quanzhou area. Among them, the tradition of the women's hairpin flower parade in Xunpu continues to this day. This ceremony not only expresses reverence for the marine gods, but also strengthens the spiritual identity of coastal ethnic groups towards marine civilization through collective cultural practices, forming a unique landscape where nature worship and regional culture are intertwined.

====Social Function====

1. Practical functions

The shape and structure of the hairpin flower enclosure are deeply in line with the geographical environment and production and living needs of Xunpu Village. In the early days, many men in Xunpu relied on going out to sea for a living. Diligent women in Xunpu not only took on household chores, but also had to go to the beach to harvest oysters. Due to the strong wind and sand in the natural environment by the seaside, and the frequent need for them to lower their heads to pick oysters, bend down to cast nets and fish, the women of Xunpu chose the habit of not leaving bangs and coiling their long hair around their heads. The hairpin flower enclosure is fixed to the bun structure with multiple hairpin hairpins, which has strong stability and can effectively help fishermen resist the invasion of sea breeze during work. It can also prevent hair from being soaked in seawater or tangled in fishing nets, fully reflecting the organic unity of practical function and regional culture.

2. Aesthetic function

The women of Xunpu have a special love for flowers, and they consider them as important decorative elements. The hairpin materials mainly include two types: "raw flowers" and "ripe flowers": the former specifically refers to various natural flowers that bloom in season; The latter is decorative silk flower, commonly known as "plastic flower". They decorate the spiral bun with layers of flower garlands, fresh flowers, and silk flowers, and wear 1-2 strings of flower garlands on ordinary days. During festivals or festive occasions (such as Mazu's birthday), women in Xunpu Village usually spend several hours carefully decorating their hairstyle wearing 5 to 7 different colored flower garlands, and dressed in formal attire to express celebration and joy. In addition to flowers, she often wears various exquisite hair and inserting comb. The women of Xunpu create a colorful "miniature garden" with their unique aesthetic pursuit by decorating their heads. The dazzling flowers seem to be the finishing touch of their life, overshadowing the trivialities of daily work.

====Intangible Cultural Heritage Protection====

Since the inclusion of the "Crab Pond Women's Customs" in the national intangible cultural heritage representative project list in 2008, with the dual promotion of the integration of "intangible cultural heritage" culture and tourism and the star effect, Zanhuawei has quickly become popular and developed a series of photo and makeup industries. From the perspective of semiotics, cultural consumption is a social and cultural activity that uses various symbols to showcase individual personalities, express self-worth judgments, and disseminate symbolic value cognition, achieving group symbolic value recognition. Moreover, "symbol" and "object" are closely related and inseparable, and non-material cultural products often require objects as carriers of symbols and visual forms of meaning. In this sense, the hairpin flower enclosure has gradually broken through the limitations of geographical and cultural circles, and its symbolic meaning and dissemination path have undergone significant reconstruction, transforming from a cultural identity within the community to a widely influential visual consumption symbol.

In January 2024, the official Weibo account of UNESCO gave a thumbs up to Quanzhou Zanhua. On April 19th, "Quanzhou Sturgeon Pond: Head Garden Intangible Cultural Heritage Experience" was selected as one of the "Top 10 Innovative Cases of Intangible Cultural Heritage Tourism Experience in 2024" released by the China Tourism Research Institute. The unexpected popularity of Quanzhou hairpin flowers has brought the national intangible cultural heritage "Crab Pu Women's Customs", which is not well-known to outsiders, into the public eye. More and more tourists are experiencing the cultural spirit of "Crab Pu Women's Customs" and its aesthetic charm through Quanzhou police flower intangible cultural heritage tourism. This article attempts to analyze the stage construction of Quanzhou hairpin flower intangible cultural heritage tourism experience from the perspective of tourist experience (expected experience, on-site experience, reminiscence experience), sort out the innovative ideas of Quanzhou police flower intangible cultural heritage tourism in shaping tourist experience, and then explore the implementation path of innovative development of intangible cultural heritage tourism experience, providing useful reference for the development and operation of intangible cultural heritage tourism products.

Realizing that beauty is the ultimate password for sustained profitability in cultural tourism, from pursuing beauty to creating beauty, we have formed an innovative ecological chain for intangible cultural heritage tourism experience, which runs through the three stages of tourists' expected experience, on-site experience, and reminiscence experience. One is to promote experiential design through the pursuit of beauty. Conduct research on the aesthetic needs and motivations of tourists participating in intangible cultural heritage experiences, guide the design of aesthetic carriers such as intangible cultural heritage products, activities, and scenes, create aesthetic objects, and stimulate tourists' interest in participating in experiences. The second is to promote the excavation of intangible cultural heritage through "creating beauty". Encourage tourists to participate in the creation of beauty during the process of experiencing it, explore the connotation of intangible cultural heritage together with tourists, integrate intangible cultural heritage elements into modern life, and create new forms of intangible cultural heritage experience. The third is to achieve the inheritance and protection of intangible cultural heritage through "sharing beauty". Make good use of online media and social platforms to stimulate tourists' potential willingness to "share beauty", understand tourists' experience, feelings, and evaluations, explore new directions for innovation in intangible cultural heritage experience through interactive communication with customers, promote tourists' understanding of the value of intangible cultural heritage through feedback and flexible positive guidance, and stimulate the initiative of the whole society to inherit and protect intangible cultural heritage.

===Reference===

1.Lin, Q., & Li, Y. (2025). 福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究 [A study on the form and decorative artistic characteristics of the Zanhua headdress in Xunpu Village, Quanzhou, Fujian]. 美与时代(上)[Beauty & Times], (09), 148–151. <https://doi.org/10.16129/j.cnki.mysds.2025.09.034>

2.Song, S., Lü, Y., & Chen, F. (2025). 蟳埔簪花图案的内涵与创新运用研究 [A study on the connotation and innovative application of Xunpu Zanhua patterns]. 西部皮革[West Leather], 47(13), 136–139. <https://doi.org/10.20143/j.1671-1602.2025.13.136>

3.Yan, R. (2025). 作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构 [The Zanhua headdress as a visual symbol: Folklorism and meaning reconstruction in the photo-taking experience]. 粤海风[Yuehai Style], (05), 30–37. <https://doi.org/10.16591/j.cnki.44-1332/i.2025.05.010>

4. Local Standard DB 3505/T 16-2024 of Quanzhou City, Fujian Province

===Terms===

1.Hairpin flower adornment 簪花

2.Xunpu lady 蟳埔女

3.Bone marrow 骨笄

4.Mazu 妈祖

5.“thick toed” hairstyle “粗脚头”发式

6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》

7.hair bun 发髻

8.official rank 官阶

9.Bun 圆髻

===Questions===

1. As a national intangible cultural heritage, how do the form and decoration of the Zanhua Wei headdress reflect the maritime cultural characteristics of the Xunpu region in Quanzhou?

2. Historically, how did the Xunpu Zanhua custom integrate traditions from the Han culture of the Central Plains with indigenous Min-Yue culture, ultimately forming its unique appearance?

3. Briefly describe the technical essentials and cultural significance of the two core steps—“hair coiling” and “decoration”—in the crafting process of the floral hairpin headdress.

4. What social functions and cultural symbolic meanings beyond aesthetics does the floral hairpin bear in the social life of women in Xunpu?

5. As contemporary “flower-adorned headdresses” transition from community cultural symbols to mass tourism consumption icons, what core issues concerning intangible cultural heritage (ICH) preservation and development does this process involve?

6. From the perspective of “innovative ICH tourism experiences”, what replicable pathways does the successful practice of Quanzhou flower-adorned headdresses offer?

===Answers===

1.The design and ornamentation of the flower-adorned headdress profoundly reflect the survival environment and cultural adaptation of Quanzhou's Xunpu Village, where the sea serves as their field. In form, the core practice involves combing all long hair backward into a flat, round bun secured tightly. This not only facilitates coastal labor by preventing hair from being tangled by sea winds or caught in fishing nets, but also adapts to the windy, sandy maritime climate through the absence of bangs and a clean forehead—a manifestation of practical rationality. In terms of ornamentation, both materials and symbolism are intrinsically linked to the sea: early floral hairpins were often crafted directly from polished marine products like seashells and coral, establishing a distinctive aesthetic rooted in oceanic materials. Its spiritual core is deeply intertwined with maritime folk beliefs such as Mazu worship. For instance, during significant celebrations like the “Birthday of Mazu”, the floral hairpin headdress is essential attire for divine offerings and processions. Thus, the floral hairpin headdress transcends mere aesthetic ornamentation, embodying as a material carrier the “local knowledge” that synthesizes productive function, ecological adaptation, and maritime faith.

2. The origins of the flower-pinning custom in Xunpu trace back to the ancient ritual of adorning hair with flowers in Han Chinese culture. The practice of decorating hair with fresh flowers, gold, silver, and silk emerged during the Han Dynasty, reaching its peak during the Tang and Song periods, as vividly depicted in the “Ladies Adorning Their Hair with Flowers” painting. This tradition migrated southward to Fujian with the relocation of Central Plains gentry. In Quanzhou's Xunpu region, the custom underwent profound fusion with the indigenous marine culture of the Minyue people and the multicultural influences brought by Quanzhou's maritime trade during the Song and Yuan dynasties. This integration manifested as follows: while in form, it absorbed the ancient Minyue tradition of “shell ornamentation”, developing distinctive shell-carved hairpins and hair combs. Combined with exotic flowers (such as jasmine and gardenia) and aesthetic elements introduced via the Maritime Silk Road, this evolved into a complex and dazzling visual system symbolized by the “flower-adorned headdress”. Thus, it represents the long-term interaction within a specific geographical space of three cultural strands: the ritual customs of Central Plains agrarian civilization, the maritime tribal culture of Minyue, and the urban fashions of overseas trading cities.
3. Hair-Styling Technique: Centered on bone hairpins for sectioning, red cord binding, and spiral coiling. The technical essence lies in using bone hairpins as a supporting framework. Through spiral coiling and red cord fixation, a stable, flat, and full circular base is formed. This base (the bun) is called the “coarse foot head”. Its sturdiness ensured practicality for labor in maritime environments, while its circular shape embodied traditional cultural concepts of “perfection” and “harmony”.

Decorative Artistry: Follows a layered logic of “base-body-accent”. First, floral garlands encircle the bun to create a full foundation, with quantity (1-2 garlands for daily wear, 5-7 for celebrations) distinguishing routine from festive occasions. Second, a tortoiseshell comb secures the bun while serving as ornamentation. Derived from the sea, tortoiseshell symbolizes status and auspiciousness. Finally, three-dimensional accents like floral hairpins, hairpins, and gold-tipped pins create a “cluster of brocade” effect through contrasting colors and staggered shapes. This entire adornment process transforms the head into a “mobile garden”, embodying the aesthetic concept of “unity between heaven and humanity”—a microcosmic simulation of the relationship between humans and nature.

4. Age and Life Stage Markers: Girls begin styling their hair with floral pins around age 11 or 12, marking their entry into adolescence. Floral pins worn during weddings are particularly elaborate, forming a central element of marriage rituals.

Social Identity and Virtue Symbol: The flower-adorned headdress serves as an ethnic identifier for the “Xunpu women”, symbolizing female diligence, resilience, and domestic competence. Its intricate yet orderly design visually embodies the community's expectation of women cultivating both inner and outer virtues.
Vessel for Emotions and Spirituality: The choice of flowers conveys personal sentiments (such as love wishes), while collective flower-pinning activities (like Mazu processions) reinforce community identity and maritime faith.

5. Local communities (especially middle-aged and elderly women) serve as cultural custodians—from skill demonstrators and hairstylists to folklore interpreters. Confirming their central role and ensuring fair returns from tourism revenue are key to sustainable preservation. For tourists, the significance of hairpin-adorned headdresses has shifted from representing “the lifestyle of women in the coastal villages” to becoming a “classical aesthetic experience” and a “photo prop”. The deeper connotations it carries—such as maritime history and communal memory—may be diluted in superficial consumption. Effectively conveying its cultural depth through tourism experience design presents a major challenge. The tourism boom attracts younger generations to return home and engage in related industries, bringing new inheritors and dissemination methods to intangible cultural heritage. However, this may also make the motivation for inheritance more economically driven.

6. Precisely addressing tourists’ dual demands for “visual spectacles” and “cultural immersion” in the social media era, the flower headdress has been reimagined as a “wearable cultural symbol” blending Eastern aesthetic charm with high interactivity. Leveraging celebrity influence and aestheticized dissemination through platforms like Xiaohongshu and Douyin, it has successfully ignited tourists' desire for photo opportunities and aesthetic aspirations.

==期末论文==

==泉州簪花==

==目录==

1.1泉州簪花
1.1.1引言
1.1.2历史渊源
1.1.3制作工艺
1.1.4文化意义
1.1.5社会功能
1.1.6非遗保护
1.2参考文献
1.3术语
1.4问题
1.5答案

====引言====

簪花围头饰发源于福建省泉州市丰泽区蟳埔村，属于我国非物质文化遗产。作为泉州民俗服饰文化的重要组成部分，蟳埔簪花习俗以其独特的簪花头饰与阔袖上衣展现出古朴韵味，同时承载着海洋记忆与民间传统。簪花围头饰装扮层次丰富，被誉为“行走的花园”，在形制
与装饰艺术上展现出独特的地域特色和文化内涵。蟳埔女的簪花发式作为文化遗产的独特构成，散发着独特魅力与深厚历史气息，凝结着地方民俗、历史记忆与文化基因。

2008年，以“簪花围”为代表的蟳埔女习俗被列入第二批国家级非物质文化遗产名录，其文化价值已获得官方与社会广泛认同。这不仅是装饰性的习俗，更是泉州历史文化的一种生动体现。对其进行深入挖掘、保护与合理开发，将使这一古老文化焕发新生机，在新时期绽放新光彩，进一步丰富人们的精神世界，推动文旅等相关产业发展，为地方文化繁荣与经济提升贡献力量。

====历史渊源====

簪花，作为中华民族传统而古老的头饰之一，始于汉代、兴于唐朝、发展于宋朝。唐朝的《簪花仕女图》清晰地展示了女子身着华丽服饰、头戴簪花时的优雅姿态。在蟳蜅服饰文化中，簪花习俗别具一格，承载着独特内涵。据传，汉朝时人们就会用鲜花、金银、绸绢等制成假花来装饰发髻，具美颜与礼仪之效。蟳蜅女的簪花习俗充满传奇色彩，一种说法是一位蟳蜅女原为宫中佳人，获皇帝御赐簪花，并将这种习俗代代传，增添神秘尊贵气息；另一种说法与当地海洋文化有关，即男性渔民以簪花赠与女性，表示敬仰祝福。最初簪花多采用海贝、珊瑚等材质进行匠心打造。随着时间推移，簪花融合生花与熟花、单支花卉与花串，其中以素馨、茉莉等花卉最为常见，并且可随四季与喜好变换。同时，簪花是蟳蜅服饰的重要装饰，与当地服饰完美融合，既展现了蟳蜅女独特魅力，也彰显出蟳蜅独特的服饰文化。

====制作工艺====

蟳埔女习俗簪花围技艺主要步骤包括材料准备、盘发、装饰、成型。

盘发工具包括梳子、长度适中的红绳、骨笄等，必要时可准备假发。装饰部件包括花串、边花、小插梳、玳瑁梳、钗仔针、金铳针、金花、金剑等。花串宜选择不同花种，数量宜以1串～5串；边花可按需选择搭配，数量至少为1朵。

先将头发梳理顺直，连同刘海全部往后梳，保持额头的光洁整齐，以约耳廓处为分发线起点，用骨笄将头发分为前后两部分。先将后部分头发梳理顺直，用红绳系起半高马尾；梳理前部分头发，用骨笄支撑固定住前部分头发，再将前部分头发合并至后部分头发，前后两部分头发用预留的红绳合扎成同一个马尾，剩余的红绳自然垂放于头顶中。将长马尾辫拧成一股细长绳状，再将绳状马尾一圈一圈螺旋式绕到手上，发圈自然由大及小，接着以马尾根部为中心，将发圈由小及大、由里及外，一圈圈盘按成扁平螺旋状圆形发髻，紧接着抽出骨笄固定圆髻。剩余马尾发尾一小截头发，与留存的红绳合拧缠绕、将其固定环绕于马尾根部隐藏在花串之间或花串与发髻之间的间隙中，插入边花，以增加头饰的层次感和丰富度，完成边花佩戴。边花的颜色、形状和数量的选择要与花串相协调，并与花串形成和谐美感。宜选用颜色明艳、形状各异的边花，以体现整体花饰的多彩、丰富。在发髻前侧面戴上玳瑁梳，玳瑁梳针脚簪插于发髻中心辅助固定，使玳瑁梳与整体簪花融为一体相得益彰。在发髻的顶部或侧面，插上钗仔针；金花、金剑等其他金饰可按需佩戴。

====文化意义====

蟳蜅簪花是当地服饰文化中极具特色的部分，不同花卉均蕴含独特寓意，如牡丹象征富贵，梅花寓意傲骨清风，兰花彰显清新，菊花代表节操与坚韧不拔，佩戴者可借此寄托情感，表达对美好品质精神的追求。簪花本身也是吉祥象征，寓意着幸福美好，被当作祈福庆祝之物，可祈愿好运降临。

此外，簪花作为爱情的象征和祝福，见证着蟳蜅女婚姻的美满幸福。在蟳蜅女的传统婚俗里，新婚当天，新娘身着蓝布衫、宽裤等传统服饰，头戴精美花环，簪花与服饰相互映衬，尽显美丽。这种风俗不仅延续传统婚俗，更是蟳蜅文化的传承展现，承载着人们对美好生活的期许。簪花于古代兼具多重意义，在贵族中是身份象征，玉石珠宝簪花更是彰显地位。蟳蜅村中，簪花成为女性勤劳、坚韧和美丽的象征。蟳蜅女以簪花展示独特魅力，赢得社会认可。簪花的象征意义在不同情境下各有侧重，宋朝簪花还具有官阶区分功能，不同花色、花卉、簪法及材质颜色对应不同官阶。而蟳蜅簪花虽不像宋朝簪花有官阶区分功能，却体现着蟳蜅女的独特文化内涵，与蟳蜅女传统服饰相搭配，使得簪花成为蟳蜅服饰文化中不可或缺的一部分，展示着蟳蜅女的独特魅力与价值。

簪花作为头饰，是蟳蜅服饰文化的重要元素。簪花一开始便展现出蟳蜅女的高雅品味与生
活情调，蟳蜅女对簪花上的鲜花、假花会进行精心挑选搭配，从色彩到形状都追求完美，它同样也是女性展示柔美秀丽的载体。在蟳蜅村，女孩子从小留长发，自十一二岁起会将秀发精心盘于脑后，插满鲜花或假花，形成“粗脚头”发式。这种发式美观大方，承载着蟳蜅女对美的独特理解与追求。簪花与蟳蜅女蓝布衫、宽裤等传统服饰相得益彰，共同塑造出蟳蜅女独特的形象。簪花不仅是头饰，更体现出蟳蜅女对美的执着追求，彰显着蟳蜅服饰文化的魅力。

在海洋信仰层面，头戴鲜花亦成为沿海族群的文化符号。每年农历正月廿九日海神妈祖寿诞之际，福建沿海广泛举行“天香”民间庆典，以鲜花敬奉神灵的习俗在泉州地区颇具影响力。其中，蟳埔女簪花巡游的传统延续至今，这一仪式不仅是对海洋神灵的敬畏表达，更通过集体性的文化实践，强化了沿海族群对海洋文明的精神认同，形成自然崇拜与地域文化交织的独特景观。

====社会功能====

1. 实用功能
簪花围的形制构造深度贴合蟳埔村的地理环境及生产生活需求。早期蟳埔男性多以出海谋生为业，勤劳的蟳埔女性除承担家务劳作外，还需前往海边采收牡蛎。由于海边自然环境风沙较大，且她们需频繁进行低头捡拾牡蛎、弯腰撒网捕鱼等动作，于是蟳埔女选择了不留刘海、将长发整体盘绕于脑后的习惯。簪花围通过多根簪钗固定于发髻的结构，具备较强的稳固性，能有效帮助渔妇在劳作过程中抵御海风侵袭，又可避免头发被海水浸湿或缠绕于渔网，充分体现了实用功能与地域文化的有机统一。

2. 审美功能
蟳埔女对鲜花特别钟爱，她们将鲜花视为重要的装饰元素。其簪花素材主要包含“生花”与“熟花”两类：前者特指各类应季开放的自然花卉；后者则为装饰性绢花，俗称“塑料花”。她们将花环、鲜花与绢花围绕着螺旋髻进行层层装饰，平常日子戴上1-2串花环。在节庆或喜庆场合（如妈祖诞辰），蟳埔村女性通常会投入数小时精心妆扮头饰，要戴5到7串各种不同颜色的花环，并身着盛装，以表示欢庆和喜悦。除了鲜花外还经常佩戴各种精致的发
簪与插梳。蟳埔女们以独特的审美追求，将头上的装饰打造成五彩斑斓的“微型花园”。绚烂的花朵仿佛成为她们生活画卷的点睛之笔，以盖过日常工作的琐碎。

====非遗保护====

自2008年“蟳埔女习俗”被列入国家级非物质文化遗产代表性项目名录后，在“非遗”文旅融合发展与明星效应的双重推动下，簪花围快速走红并发展出一系列写真妆造产业。从符号学的角度来看，文化消费是一种以各种符号彰显主体个性、表达自我价值判断，并且传播符号价值认知、实现群体符号价值认同的社会文化活动。并且，“符”与“物”紧密联系、不可分割，非物质形态的文化产品常常需要以物为符号的载体和视觉化的意义形式。在这个意义上，簪花围逐渐突破地域与文化圈层的限制，其符号意义与传播路径发生了显著重构，从蟳埔社区内部的文化标识转变为具有广泛影响力的视觉消费符号。

2024年1月，联合国教科文组织官方微博发文点赞泉州簪花。4月19日，“泉州鱘埔:头上花园非遗体验”入选中国旅游研究院发布的“2024年非遗旅游体验创新十佳案例”。泉州簪花的“意外”走红，让外乡人不太熟知的国家级非遗“蟳埔女习俗”成功进入大众视野，越来越多的游客通过泉州警花非遗旅游感受“蟳埔女习俗”的文化精神，体验它的审美逸趣。本文试以游客体验的视角，通过分析泉州簪花非遗旅游体验在其历时过程（预期体验、在场体验、追忆体验）中的阶段建构，梳理泉州警花非遗旅游在塑造游客体验的创新思路，进而探析非遗旅游体验创新发展的实现路径，为非遗旅游产品的开发和运营提供有益借鉴。

意识到美是文旅持续盈利的终极密码，从追求美到创造美，形成非遗旅游体验创新生态链，贯穿游客预期体验、在场体验及追忆体验三阶段。一是以“追求美”推动体验设计。调研游客参与非遗体验的审美需求动机，指导非遗产品、活动、场景等美的载体的设计，创造审美对象，激发游客参与体验的兴趣。二是以“创造美”推进非遗挖掘。鼓励游客在体验美的过程中参与美的创造，与游客共同深挖非遗内涵，将非遗元素融入现代生活，创造新的非遗体验形式。三是以“分享美”实现非遗传承与保护。善用网络媒体、社交平台激发游客“分享美”的潜在意愿，了解游客体验感受及评价，通过与顾客的互动交流探究非遗体验创新的新方向，通过反馈及柔性正向引导，促进游客对非遗价值的理解，激发全社会传承保护非遗的主动性。

====参考文献====

[1]宋深江,吕亚持,陈飞峰.蟳埔簪花图案的内涵与创新运用研究[J].西部皮革,2025,47(13):136-139.DOI:10.20143/j.1671-1602.2025.13.136.

[2]林沁,李永轮.福建泉州蟳埔村簪花围头饰形制与装饰艺术特征研究[J].美与时代(上),2025,(09):148-151.DOI:10.16129/j.cnki.mysds.2025.09.034.

[3]闫睿欣.作为视觉符号的簪花围：拍照体验中的民俗主义与意义再建构[J].粤海风,2025,(05):30-37.DOI:10.16591/j.cnki.44-1332/i.2025.05.010.

[4]福建省泉州市地方标准 DB 3505/T 16—2024

===术语===

1.Hairpin flower adornment 簪花

2.Xunpu lady 蟳埔女

3.Bone marrow 骨笄

4.Mazu 妈祖

5.“thick toed” hairstyle “粗脚头”发式

6.Court Ladies Adorning Their Hair with Flowers 《簪花仕女图》

7.hair bun 发髻

8.official rank 官阶

9.Bun 圆髻

===问题===

1.簪花围作为国家级非物质文化遗产，其形制与装饰如何体现泉州蟳埔地域的海洋文化特征？

2.从历史上看，蟳埔簪花习俗是如何融合中原汉文化传统与本土闽越文化，并最终形成独特样貌的？

3.简述簪花围制作工艺中“盘发”与“装饰”两个核心步骤的技术要点与文化意涵。

4.簪花在蟳埔女的社会生活中承载了哪些超越审美之外的社会功能与文化象征意义？

5.当代“簪花围”从社区文化标识转变为大众旅游消费符号，这一过程涉及哪些“非遗”保护与发展的核心议题？

6.从“非遗旅游体验创新”的角度，泉州簪花的成功实践提供了哪些可借鉴的路径？

===答案===

1.簪花围的形制与装饰深刻反映了泉州蟳埔村“以海为田”的生存环境与文化适应。在形制上，其核心是将长发全部后梳，盘成扁圆发髻并牢固固定，这一方面便于海边劳作，避免头发被海风扰乱或卷入渔网，另一方面无刘海、光洁额头的处理也适应了多风沙的海洋性气候，体现了实用理性。在装饰上，其材料与意涵均与海洋紧密关联：早期簪花常采用海贝、珊瑚等海洋物产直接打磨制成，形成了独特的海洋材质美学；而其信仰内核则与妈祖崇拜等海洋民间信仰深度融合，例如在“妈祖生”等重要庆典中，簪花围是敬神与巡游的必要装束。因此，簪花围并非单纯的审美装饰，而是融合了生产功能、生态适应与海洋信仰的“地方性知识”的物化载体。

2.蟳埔簪花习俗的源头可追溯至中原汉文化的簪花古礼，汉代已出现以鲜花、金银、绸绢饰发的风尚，唐宋时期尤为鼎盛，《簪花仕女图》即为明证。这一传统随中原士族南迁入闽。在泉州蟳埔，这一习俗与闽越本土的海洋文化及宋元时期泉州海洋贸易带来的多元文化发生了深度交融。其表现为：在核心礼俗观念上继承了中原的“以花为饰”与礼仪美感；在具体形态上，则吸收了古闽越人“贝饰”传统，发展出独具特色的贝雕簪钗，并结合海上丝绸之路传入的异域花卉（如素馨、茉莉）与审美元素，形成了以“簪花围”为标志的、繁复灿烂的视觉体系。因此，它是中原农耕文明礼俗、闽越海洋部落文化、海外贸易城市风尚三重脉络在特定地理空间长期互动的产物。

3.盘发技术：以骨笄分区、红绳捆扎、螺旋盘髻为核心。其技术要点在于利用骨笄作为支撑骨架，通过螺旋盘绕与红绳固定，形成一个稳固、扁平、饱满的圆形基座。这一基座（发髻）被称为“粗脚头”，其牢固性确保了在海洋环境下劳作的实用性，其圆形则蕴含着“圆满”“和谐”的传统文化观念。

装饰艺术：遵循“衬底-主体-点缀”的层次逻辑。首先，以花串环绕发髻形成饱满的基底，以数量（日常1-2串，节庆5-7串）来区分日常与欢庆场景。其次，佩戴玳瑁梳，其功能兼具固定发髻与装饰，玳瑁材质本身源自海洋，是身份与吉祥的象征。最后，插戴边花、钗仔针、金铳针等进行立体点缀，追求色彩对比、形状错落的“锦簇”效果。整个装饰过程，是将头部转化为一个“移动花园”，体现了“天人合一”的审美观，即人与自然的微型生态模拟。

4.年龄与生命阶段标志：女孩自十一二岁起开始盘发簪花，标志步入青春期；新婚时的簪花尤为盛大，是婚俗礼仪的核心环节。

社会身份与美德象征：簪花围是“蟳埔女”的族群标识，象征着女性的勤劳、坚韧与持家能力。其繁复而不失秩序的造型，视觉化了她们“内外兼修”的社群期许。

情感与精神寄托载体：不同花卉的选择寄托个人情感（如爱情祈愿），集体性的簪花活动（如妈祖巡游）则强化了社群认同与海洋信仰。

5.当地社区（尤其是中老年女性）作为文化持有者，从技艺展示者、盘发师到民俗讲解员，其主体角色如何确认，并在旅游收益中获得合理回报，是实现可持续保护的关键。对游客而言，簪花围的意义从“蟳埔女的生活样式”转变为“古典美学体验”和“出片神器”，其承载的海洋历史、社群记忆等深层内涵可能在浅层消费中被稀释。如何通过旅游体验设计有效传递其文化深度，是一大挑战。旅游热吸引年轻一代返乡从事相关行业，为非遗带来了新的传承人群与传播方式，但也可能使传承动机更趋经济化。

6.精准把握社交媒体时代游客对“视觉奇观”与“文化沉浸”的复合需求，将簪花围塑造为兼具东方美学韵味与高互动性的“可穿戴的文化符号”，通过明星效应、社交媒体（如小红书、抖音）的美学化传播，成功激发游客的打卡预期与审美向往。

Talk:Main Page

2025-12-30T15:16:39Z

Zeng Lin: /* Final Exam Paper */

File:Calligraphy 2025.pptx

2025-11-06T12:03:31Z

Zeng Lin:

Chinese Language and Culture - 2025

2025-11-06T12:03:08Z

Zeng Lin: /* 2025-10-16 (周四) - Completed */

Contents from spring (will be updated for fall):

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

=Overview about this semester's student presentations=

== 📅 Presentation Schedule ==

=== 2025-10-16 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Luó Yǔyān || 罗语嫣 || 202570081748 || 275. Zhuazhou [[Media:Zhuazhou_2025.pptx]]
|-
| 2 || Qū Yuèníng || 曲悦宁 || 202570081750 || 267. Mazu culture
|-
| 3 || Lǐ Zhuóshàn || 李卓善 || 202570081692 || 282. Black Myth: Wukong
|-
| 4 || Zhāng Mǐnjié || 张敏杰 || 202570081730 || 153. Traditional Cuisine: Eight Major Cuisines of China
|-
| 5 || Qín Míngwén || 秦铭雯 || 202570081704 || 19. Twelve Animals of the Chinese Zodiac
|-
| 6 || Zēng Lín || 曾琳 || 202570081670 || 27. Chinese Writing: Calligraphy [[Media: calligraphy 2025.pptx]]
|-
| 7 || Dèng Xuě || 邓雪 || 202570081742 || Panda
|-
| 8 || Guō Xiǎopèi || 郭晓佩 || 202570081678 || 25. Body movements performance: traditional Chinese dance
|-
| 9 || Zhāng Xiāorán || 张潇然 || 202570081759 || Chinese Ancient Weapons
|}

=== 2025-10-23 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Zēng Língkǎi || 曾凌楷 || 202570081774 || 213. Chinese Dreamcore (中式梦核)
|-
| 2 || Chén Kěxīn || 陈可心 || 202570081671 || The Five Famous Mountains
|-
| 3 || Liú Jiāqí || 刘嘉琪 || 202570081696 || Chinese liquor culture
|-
| 4 || Wáng Guóshū || 王国姝 || 202570081753 || Red envelope and lucky money
|-
| 5 || Chén Qiānyùn || 陈仟运 || 202570081673 || 203. Chinese horror movies 中式恐怖片
|-
| 6 || Hé Yí || 何怡 || 202570081743 || 262. The four pillars of destiny [[Media:The four pillars of destiny.pptx]]
|-
| 7 || Zhāng Méiróng || 张梅容 || 202570081729 || 227. Chinese Bossy Fictions & Micro-drama (中国式霸总小说&短剧)
|-
| 8 || Lǐ Wénqīng || 李文清 || 202570081690 || 132. Porcelain
|-
| 9 || Liú Zǐlíng || 刘紫玲 || 202570081699 || 185. Opera: Huangmei opera 黄梅戏
|}

=== 2025-10-24 (周五) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Wēng Lánlín || 翁岚淋 || 202570081712 || 217. Cha Bai Xi / Tea Latte Art (茶百戏)
|-
| 2 || Huáng Yàngyàng || 黄样样 || 202570081682 || 234. Dragon Lantern Dance [[Media:Dragondance.pptx]]
|-
| 3 || Lǐ Yòu || 李又 || 202570081691 || Kite-flying (放风筝)
|-
| 4 || Mǎ Yījiāo || 马一礁 || 202570081700 || 242. Hunan Rice Noodles (湖南米粉)
|-
| 5 || Zhū Zhū || 朱珠 || 202570081738 || 37. Confucianism: Classical Philosophy-Reading the Analects
|-
| 6 || Wáng Rǎnrǎn || 王冉冉 || 202570081709 || Shandong cuisine 鲁菜
|-
| 7 || Yáng Shūwén || 杨淑雯 || 202570081722 || Traditional Cuisine: Breakfast Culture of Wuhan
|-
| 8 || Méi Xīléi || 梅希雷 || 202570081701 || 69. Language: Chinese Dialects
|-
| 9 || Liú Huì || 刘慧 || 202570081695 || 204. Stand-up Comedy [[Media:Stand-up Comedy.pptx]]
|}

=== 2025-10-30 (周四) - Completed ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Cáo Wén || 曹文 || 202570081669 || 171. Science and Technology: Taobao（淘宝）
|-
| 2 || Chén Míngbō || 陈明菠 || 202570081672 || Education: training Schools
|-
| 3 || Dèng Xīnyǔ || 邓欣雨 || 202570081674 || 253. Yuelu mountain 岳麓山
|-
| 4 || Dèng Xīn || 邓鑫 || 202570081675 || 196. Science and Technology: The culture of Chinese Electric Vehicles
|-
| 5 || Fāng Xiān || 方鲜 || 202570081676 || 100. Money Culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty)
|-
| 6 || Fú Róng || 符蓉 || 202570081677 || 225. "Cun Chao": China's village football league（"村超"：中国乡村足球联赛）
|-
| 7 || Guō Yùróng || 郭玉熔 || 202570081679 || 14. Architecture: Fengshui in Chinese architecture [[Media:Fengshui_in_Architecture_2025.pptx]]
|-
| 8 || Hè Jìngtóng || 贺婧童 || 202570081680 || 13. Three Great Towers in China
|-
| 9 || Hú Lěi || 胡磊 || 202570081681 || 193. Science and Technology: Buy together (PDD)
|-
| 10 || Huáng Yáo || 黄瑶 || 202570081683 || Cheongsam
|-
| 11 || Martin Woesler || 吴漠汀 || xxx || Teacher presentation [[Media:02.pptx]]
|}

=== 2025-11-06 (周四) - 共 9 个演讲 ===

周四换成：6 Wáng Zǐxīn 王紫新 202570081710 138.Round Table Culture；

周五换成：7 Líng Xīaoyáo 凌逍遥 202570081693 43.Chinese Folk Argot

Teacher presentation [[Media:02.pptx]]

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Huáng Yīlín || 黄伊琳 || 202570081684 || Chinese incense culture
|-
| 2 || Jiǎng Kèyǔ || 蒋克雨 || 202570081686 || 221. Zhongyuan festival
|-
| 3 || Kǒng Xiángyǎ || 孔祥雅 || 202570081687 || 266. Hui culture
|-
| 4 || Lǐ Mèngxiá || 李孟霞 || 202570081688 || 243. Chinese names
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. Aesthetic ideals and social customs: the Photo Retouching Culture in China
|-
| 6 || Wáng Zǐxīn || 王紫新 || 202570081710 || 138.Round Table Culture
|-
| 7 || Liú Dān || 刘丹 || 202570081694 || 232. Sun Wukong (孙悟空) [[Media:Sun_Wukong_2025.pptx]]
|-
| 8 || Liú Xīn || 刘欣 || 202570081697 || 170. Paper cutting
|-
| 9 || Liú Yuán || 刘缘 || 202570081698 || Language: Hakka Dialect 1845
|}

=== 2025-11-07 (周五) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Pān Liànyàn || 潘恋艳 || 202570081702 || 283. Guangdong Morning Tea Culture 广东早茶
|-
| 2 || Péng Xiāngrú || 彭湘茹 || 202570081703 || 5. Aesthetic ideals and social customs: Crying Marriage of Tujia
|-
| 3 || Qū Yìyǐng || 曲奕颖 || 202570081705 || 216. The Story of Ming Lan 知否知否应是绿肥红瘦
|-
| 4 || Rèn Yàrú || 任亚茹 || 202570081706 || 63. Mogao Grottoes
|-
| 5 || Rèn Yíngyíng || 任盈盈 || 202570081707 || 263. Shaolin Temple
|-
| 6 || Shū Yǔlù || 舒雨璐 || 202570081708 || 133. Silk and porcelain: Celadon and Celadon Song《青花瓷》
|-
| 7 || Líng Xiāoyáo || 凌逍遥 || 202570081693 || 70. Chinese folk argot
|-
| 8 || Wèi Fāngxīn || 魏方鑫 || 202570081711 || 152. Traditional Cuisine: Chopsticks
|-
| 9 || Wú Hóngpíng || 吴洪萍 || 202570081713 || 31. Chinese clothing
|-
| 10 || Xiàng Xīnlěi || 向馨磊 || 202570081714 || 179. Traditional and Modern Views on Marriage and Love
|}

=== 2025-11-13 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Xiàng Xuěbīng || 向雪冰 || 202570081715 || TBD - Xiàng Xuěbīng
|-
| 2 || Xiào Sūqín || 肖苏秦 || 202570081716 || 197. Chinese tradition culture: The culture of Ronghua-Velvet Flowers 绒花
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 151. Traditional Cuisine: Chinese Dining Etiquette
|-
| 6 || Yáng Jīnyǔ || 杨金雨 || 202570081720 || 96. Medicine: TCM - The Development of Chinese Medicine
|-
| 7 || Yáng Jìngwèi || 杨婧蔚 || 202570081721 || 45. Facial Make-up: Face Changing in Sichuan Opera
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || Bamboo Weaving 竹编
|}

=== 2025-11-20 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Yú Chēn || 余琛 || 202570081726 || 174. Traditional Cuisine: Jiaozi 饺子
|-
| 2 || Yuè Ziháo || 岳子豪 || 202570081727 || 108. Opera: Peking Opera (京剧)
|-
| 3 || Zhāng Lì || 张丽 || 202570081728 || 180. Tangyuan (汤圆)
|-
| 4 || Zhāng Shuàichāo || 张帅超 || 202570081731 || Ancient Chinese education
|-
| 5 || Zhāng Yǔméng || 张雨蒙 || 202570081732 || 208. Chinese traditional ornament: Buyao (步摇)
|-
| 6 || Zhào Jǐntāo || 赵锦涛 || 202570081733 || Culture of Chinese Electric Car
|-
| 7 || Zhào Mǐn || 赵敏 || 202570081734 || Gender: Wu Zetian: The Only Female Emperor of Imperial China
|-
| 8 || Zhào Yíxiāo || 赵怡潇 || 202570081735 || 205. Bride-price
|-
| 9 || Zhèng Shān || 郑珊 || 202570081736 || 278. The Beef Board Noodle
|-
| 10 || Zhōu Wénxuān || 周文萱 || 202570081737 || 23. Body movement performance: Chinese Lion Dancing
|}

=== 2025-11-27 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Zhù Yèhuī || 祝烨晖 || 202570081739 || 251. Rice Noodle Roll 肠粉
|-
| 2 || Chén Yǎqí || 陈雅琪 || 202570081740 || 157. Traditional Cuisine—hotpot
|-
| 3 || Chén Yǔfēi || 陈宇飞 || 202570081741 || 91. Martial Arts: Wushu
|-
| 4 || Hé Yǐng || 何颖 || 202570081744 || 276. Nail art (美甲)
|-
| 5 || Huáng Yǎqiàn || 黄雅倩 || 202570081745 || 93. Medicine: Traditional Chinese Medicine (TCM)
|-
| 6 || Lín Zhǐyí || 林芷怡 || 202570081746 || 92. Frolics of the Five Animals (wuqinxi)
|-
| 7 || Liú Kāngyí || 刘康怡 || 202570081747 || 112. Huagu Opera (花鼓戏)
|-
| 8 || Lǚ Píng || 吕萍 || 202570081749 || 102. Music and instruments: guzheng
|-
| 9 || Shěn Yàn || 沈燕 || 202570081751 || 241. Abacus (珠算)
|-
| 10 || Tán Tíngtíng || 谭婷婷 || 202570081752 || 202. The Legend of Zhen Huan《甄嬛传》
|}

=== 2025-12-04 (周四) - 共 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Wèi Méng || 魏萌 || 202570081754 || Zhang Zhongjing
|-
| 2 || Xiè Xuán || 谢璇 || 202570081755 || 02. Aesthetic ideals and social customs: Chinese marriage customs (中式婚礼)
|-
| 3 || Yáng Tíng || 杨婷 || 202570081756 || 254. Traditional Crafts: Tie-Dye
|-
| 4 || Yáng Yǔqíng || 杨雨晴 || 202570081757 || 259. Female writers
|-
| 5 || Yáng Yuàn || 杨媛 || 202570081758 || 188. Science and Technology: Mobile Games (手游)
|-
| 6 || Zhāng Yuè || 张悦 || 202570081760 || 265. Cuisine: changed spicy salted duck
|-
| 7 || Zhōu Xuán || 周璇 || 202570081761 || 186. The "reference" of Chinese Music (中国音乐的"借鉴")
|-
| 8 || Zhōu Yáng || 周洋 || 202570081762 || 148. Handcraft—Chinese knots
|-
| 9 || Guō Yǔtíng || 郭雨婷 || 202570081763 || 238. Three famous chinese mountains 中国三山
|-
| 10 || Jiāng Wǎnlíng || 姜宛灵 || 202570081685 || 1.Geographic Nature as a Basis for Cultural Development
|}

=== 2025-12-11 (周四) - 共 9 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Lǐ Fán || 李凡 || 202570081764 || TBD - Lǐ Fán
|-
| 2 || Péng Lùxī || 彭露曦 || 202570081765 || 250. Language: Hakka Dialect (客家话)
|-
| 3 || Hú Mínghào || 胡明浩 || 202570081766 || 270. The Yingge Dance (英歌舞)
|-
| 4 || Huáng Lèlè || 黄乐乐 || 202570081767 || 179. Traditional and modern views on marriage and love
|-
| 5 || Jiāng Jiāyǔ || 姜佳宇 || 202570081768 || 224. Jiangxi Cuisine (赣菜)
|-
| 6 || Liáng Yǔtóng || 梁羽彤 || 202570081769 || 256. Danmu (弹幕)
|-
| 7 || Péng Ruǐmiáo || 彭蕊苗 || 202570081770 || 213. Chinese Dreamcore (中式梦核)
|-
| 8 || Qín Níng || 秦宁 || 202570081771 || 212. Education: training Schools (教育：补习班)
|-
| 9 || Wú Jǐnxuán || 吴瑾璇 || 202570081772 || 274. God of Wealth (财神)
|}

=== 2025-12-18 (周四) - 共 8 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Yǐn Ziháo || 尹子豪 || 202570081773 || TBD - Yǐn Ziháo
|-
| 2 || Chén Yǔjiā || 陈雨佳 || 202570081775 || 203. Beverages: Tea
|-
| 3 || Wāng Jīnyán || 汪金妍 || 202570081776 || 158. Traditional Cuisine: The Art of Chinese Cooking
|-
| 4 || Yì Yǔtíng || 易雨婷 || 202570081777 || 268. Table manners
|-
| 5 || Hán Jiāyàn || 韩佳燕 || 202570081778 || 236. Landscapes and Tourism: Harbin Ice and Snow World
|-
| 6 || Liào Rútíng || 廖如婷 || 202570081779 || 169. Cuisine: Luosifen
|-
| 7 || Wáng Huìān || 王慧安 || 202570081780 || 128. TikTok (Douyin)
|-
| 8 || Wú Héng || 吴姮 || 202570081781 || 215. Live Streaming E-commerce (直播电商)
|}

=Session 1 Thu Sep 25 19:00-21:35 room 613 - Organizational issues=

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

==Students' contribution==
*Every student needs to prepare the textbook texts of the respective chapters in the textbook ahead each week of class.
*Every student selects a topic, prepares 1 pptx presentations of 5 min. (without AI, and please indicate references and an AI statement at the end of the presentation) and a interactive quiz for everybody to take live in class with results shown after all will have answered. The topics and contents of the sessions are determined by the selection of the students.
*For the final exam, you write another chapter of the textbook in both Chinese and English, with "Terms and Expressions", References, Questions and Answers, Statement regarding AI

==Textbook==
You will receive the textbook for our class. We need a volunteer who integrates the last 92 new chapters into the word file. After tha, you will receive an updated version of the textbook. There are 283 topics of our textbook. Here you find all topics in the order of the book and with the names of the students who will translate the chapters into Chinese. Please select two topics by writing your name behind it and by setting it in '''bold'''. These topics will be presented in the form of a powerpoint presentation.

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

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

==Teacher presentation: Introduction to Culture==
[[Media:01_Chin_Lang_Cult_2025.pptx]]

[[Media:02_Chin_Lang_Cult_2025.pptx]]

==Homework for Session 2==
Please register on the Wiki and wait for the teacher to approve. You can click on https://bou.de/u and then "Register" in the top right corner, then input two times your pinyin name for username and real name in the way "Wang Jianguo", type in some info about yourself and submit the form with accepting the terms and conditions. More detailed instructions for registration you find in the powerpoint presentation which you can download from here ("Teacher presentation").

==Prepare ppt (10 students)==
Grading Criteria for Powerpoint Presentations

Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?

Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)

Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?

Was the presentation appropriate to the topic?

Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?

Was the presentation not too short and not too long in time, but as long as the other presentations, so that all presentations of the day could be presented?

Did the presentation consider the same cultural phenomenon both in China and in other countries, at least as a comparison?

Did the presentation avoid mistakes like reading out text in a boring way, pronounciation mistakes, typos in the English text?

Did you indicate the sources you have used at least on the last page of your presentation in the form of a list?

Did you upload your ppt file successfully (if not, did you contact the teaching assistant to upload)?

Did you present your ppt file in the full screen mode?

Did you arrive early in classroom to copy your file onto the desktop of the class computer and did you check it and also any embedded or accompanying video files etc. if everything works properly including sound?

Did the presentation avoid deadly mistakes like plagiarism, using ai without indicating it (if you use ai to create the presentation, you need to indicate the platform and the full prompt you gave to ai and the main adjustments you did to the prompt), using ideology, patriotism, politics, religious beliefs, advertisement for products, ignorance (e.g. that a cultural phenomenon is wide spread in Asia and the origin is unclear, but claiming it was Chinese and originated in China), racism, prejudices, telling lies, spreading false rumors etc.?

Please select one of the following chapters of our textbook by writing your name behind the topic to give a 20 minute presentation on, plus an interactive quiz: The first ten presenters will have to present in two weeks!

1. Geographic Nature as a Basis for Cultural Development 17

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

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

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

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

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

7. Animals: Panda 71

8. Architecture 78

9. Architecture: The Forbidden City 89

10. Architecture: Four Famous Bridges 102

11. Architecture: Four Great Pavilions 113

12. Architecture: Shengjing Imperial Palace 124

13. Architecture: Three Great Towers in China 131

14. Architecture: Fengshui in Chinese Architecture 145

15. Army and weapons: Chinese Ancient Weapons 154

16. Army and weapons: Terracotta Army 163

17. Astrology: Chinese Astrology 170

18. Astrology: Calendar, The 24 Solar Terms 178

19. Astrology: Twelve Animals of the Chinese Zodiac 188

20. Beverages: Milk Tea 197

21. Beverages: Tea 203 (Zhang Mai)

22. Beverages: The Liquor Culture of Ancient China 209

23. Body movement performance: Chinese Lion Dancing 218

24. Body movement performance: Stilts 223

25. Body movement performance: Traditional Chinese Dance 230

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

27. Chinese Writing: Calligraphy 246 (Tang Yan)

28. Chinese Writing: The Evolution of Calligraphy 252

29. Chinese Writing: Chinese Characters 262

30. Chinese Writing: Chinese Characters and Scripts 276

31. Clothing: Chinese Clothing 283

32. Clothing: Batik (Lanran) 291

33. Clothing: Cheongsam 301

34. Confucianism: Confucian Culture 309

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

36. Confucianism: Classical Philosophy - Confucius and Confucianism 332

37. Confucianism: Classical Philosophy - Reading The Analects 339

38. Education: Ancient Chinese Education 350

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

40. Education: Modern Chinese Education System 371

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

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

43. Facial Make-up 406

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

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

46. Fine Arts: Painting 440

47. Fine Arts: Bada Shanren and Qi Baishi 445

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

49. Fine Arts: Seal-cutting 459

50. Games: Go 围棋 462（Zhao Qi）

51. Games: Kite Flying 468

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

53. Garden Culture: Gardens 505

54. Garden Culture: Bonsai (Penjing) 511

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

56. Garden Culture: Qingming Riverside Landscspe Garden 526

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

58. History: Carl and Cixi 548

59. Interieur: The Folding Screen 552

60. Landscapes and Tourism: Four Buddhist Shrines 561

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

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

63. Landscapes and Tourism: Mogao Grottoes 593

64. Landscapes and Tourism: The Culture of Mount Tai 606（Qin Yi)

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

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

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

68. Language: Chinese Language 649

69. Language: Chinese Dialects 660

70. Language: Chinese Folk Argot 669

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

72. Literature: Ancient literature - Chinese Mythology 688

73. Literature: Ancient literature - Classical Literature 699

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

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

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

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

78. Literature: Ancient literature: Yuefu 765

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

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

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

82. Literature: Premodern literature: Tang-Song 794

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

84. Literature: Modern Literature 832

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

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

87. Literature: Contemporary Literature 859

88. Martial Arts: Huo Yuanjia 865

89. Martial Arts: Qigong 868

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

91. Martial Arts: Wushu 885

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

93. Medicine: Traditional Chinese Medicine (TCM) 900

94. Medicine: TCM - Acupuncture and Moxibustion 907

95. Medicine: TCM - Diagnosis and Pharmacology 912

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

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

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

99. Minority cultures: The Ethnic Minorities’ Costumes 941

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

101. Money culture: The tradition of Red Envelope and Lucky Money 962 (Xu Yangyang)

102. Music and instruments: Guzheng 975

103. Music and instruments: Pipa 986

104. Mythology: Gods and Immortals 996

105. Mythology: Huli-jing 1005

106. National Symbols: National Anthem 1018

107. National Symbols: National Flag 1026 （Liao Zuoyun）

108. Opera: Peking Opera 1035

109. Opera: Peking Opera Acrobatics 1043

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

111. Opera: Tea-picking Opera 1055

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

113. Philosophical Schools: Four Main Philosophical Schools 1076

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

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

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

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

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

119. Philosophy: Chinese Traditional Cultivation Culture 1129

120. Religion: Traditional Chinese Funeral Culture 1141

121. Religion: Buddhism 1155

122. Religion: Daoism 1170

123. Religion: Christianity 1175

124. Religion: Islam 1181

125. Science and Technology: Ancient Science and Technology 1185

126. Science and Technology: China's Four New Inventions 1191 (Yang Yue2)

127. Science and Technology: Compass 1217

128. Science and Technology: TikTok (Douyin) 1226

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

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

131. Silk and porcelain: Silk 1272 (Fei Xinyu)

132. Silk and porcelain: Porcelain 1277

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

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

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

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

137. Social: The Long-life Lock 1308

138. Social: Round Table Culture 1317 (Wu Jiating)

139. Stage entertainment: Crosstalk 相声 1325

140. Stage entertainment: Shadow Play 1332

141. Traditional Crafts: Carving 1340

142. Traditional Crafts: Chinese Jade Culture 1348

143. Traditional Crafts: Cloisonne 1363

144. Traditional Crafts: Embroidery 1369

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

146. Traditional Crafts: Xiang Embroidery 1386（Zhang Huifang）

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

148. Traditional Crafts: Handcraft - Chinese Knots 1409

149. Traditional Crafts: Lacquerware 1418

150. Traditional Crafts: The Kingfisher Craft点翠 1423

151. Traditional Cuisine: Chinese Dining Etiquette 1436

152. Traditional Cuisine: Chopsticks 1450

153. Traditional Cuisine: Eight Major Cuisines of China 1456 (Zheng Kaiwu)

154. Traditional Cuisine: Four Distinct Regional Cuisines 1473

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

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

157. Traditional Cuisine: Hotpot 1501 (Cao Chunyang)

158. Traditional Cuisine: The Art of Chinese Cooking 1508

159. Traditional Cuisine: Two Famous Dishes 1514

160. Traditional Festivals 1518……

161. Traditional Festivals: Lattice on Ancient Chinese Windows 1525

162. Traditional Festivals: Spring Festival Couplets 1538

163. Westernization: The Eastward Spread of Western Learning 1544

164. Westernization: The Westernization Movement 1550

165. Worship: Chinese Incense Culture 1558 (She Xiao)

166. Economy: Chinese Currency Changes 1569

167. History: Wang Shouren 1573 Lv Jiahao

168. Martial Arts: Chinese Swordsman Spirit 1582

169. Cuisine: Luosifen 1593 （Chen Sisi)

170. Fine Arts: Chinese Paper Cutting 1601

171. Science and Technology: Taobao(淘宝) 1611

172. Traditional Craft: Bronze 1623

173. Entertainment: Deyunshe 德云社 1631

174. Traditional Cuisine: Jiaozi 1644 （Liu Pei）

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

176. Traditional Crafts: Handcraft - Oil-paper Umbrella 1664

177. stage entertainment:Yuan drama 1676

178. Music and instruments: Erhu 1685

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

180. Traditional Cuisine: Tangyuan 1701

181. Animals：Golden Monkey 1712（Xiao Yawen）

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

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

184. The Chinese tradition of ancestor worship 1740

185. Opera: Huangmei opera 1752 （Chu Hanqi）

186. The “reference” of Chinese Music 1759

187. Chinese Folk Art:Lion Dance 1767

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

189. Clothing: Vintage Clothing 1790

190. Fine arts:Kunqu Opera 1798

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

192. National Belief: the Chinese Dream 1818

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

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

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

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

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

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

199. Traditional Crafts: Dough Sculpture 面塑 1845

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

201. The culture of Grass cloth 夏布 1845

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

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

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

205. Bride-price（彩礼） 1845

206. Chinese science fiction movies 中国科幻片 1845

207. Shandong cuisine鲁菜 1845(Lu Wei)

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

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

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

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

212. Education：training Schools （教育：补习班） 1845 (Huang Yixuan2)

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

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

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

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

217. Cha Bai Xi/Tea Latte Art (茶百戏) 1845 （Yang Jiahong2)

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

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

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

221. Zhongyuan festival 1845 （Ou Huang）

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

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

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

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

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

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

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

229. Jingdezhen Porcelain 1845 (Xiao Luyu)

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

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

232. Sun Wukong（孙悟空） 1845 （Li Yuan2）

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

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

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

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

237. Braised Chicken Rice (黄焖鸡米饭-Huang Men Ji Mifan) 1845 （Li Zihan2）

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

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

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

241. Abacus (中国珠算） 1845

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

243. Chinese name（中国姓名文化） 1845

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

245. Douzhi (豆汁) 1845(Li Linyao)

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

247. Carved lacquer（雕漆） 1845 （Liu Qi）

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

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

250. Language: Hakka Dialect（客家话） 1845

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

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

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

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

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

256. Danmu (弹幕） 1845 (Zhou Le)

257. Yangshao Culture（仰韶文化） 1845

258. Indigo Dyeing (蓝染) 1845

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

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

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

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

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

264. Single bamboo drifting（独竹漂） 1845

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

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

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

268. Table Manners 1845（Luo Yan）

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

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

271. Palace Lantern（宫灯） 1845 （Shao Keyuan）

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

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

274. God of Wealth(财神) 1845

275. Zhuazhou（抓周） 1845 （Zeng Xiaohui）

276. Nail art（美甲） 1845 （Luo Jiaxin）

277. Mirror (镜子) 1845 (Cheng Sixiang)

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

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

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

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

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

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

=Session 02 Fri Feb 28 14:30-16:10 room 613 - Student presentations=
==Teacher presentation: Introduction to Culture==
[[Media:02_Chin_Lang_Cult_Spring_2025.pptx]]

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

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

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

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

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

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

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

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

Tea Latte Art (Xiang Jianning)

Topic 7

Topic 8

Topic 9

Topic 10

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

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

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

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

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

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

7. Topic 126: China's four new inventions 1191(Yang Yue2).) [[Media:China's_Four_New_Great_Inventions_Spring_2025.pptx]]

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

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

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

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

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

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

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

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

==Student grades: 平时成绩/签到==

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

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

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

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

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

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

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

=Session 10 Fri Apr 25 14:30-16:10 room 613 - Student presentations=
#Topic 217: Cha Bai Xi/Tea Latte Art（茶百戏）(Yang Jiahong)[[Media:ChaBaiXi.pptx]]
#Topic 225: Cun Chao": China's village football league（“村超”：中国乡村足球联赛）(Shen Shuai)
#Topic 227: Chinese Bossy Fictions & Micro-drama（中国式霸总小说&短剧） 1845 (He Yunfeng)[[Media:Chinese_Bossy_Fictions_and_Microdramas.pptx]]
#Topic 229: Jingdezhen Porcelain(Xiao Luyu)[[Media:Jingdezhen Porcelain.pptx]]
#Topic 230: Gayageum（伽倻琴）(Zhang Meiling) [[Media:Gayageum.pptx]]
#Topic 231: The plague and couplet in Chinese garden(Wang Yuxin)[[Media:The Plague and Couplets in Chinese Garden.pptx]]
#Topic 232: Sun Wukong(Li Yuan)[[Media:0425 Sun Wukong.pptx]]
#Topic 234: Dragon Lantern Dance(Jin Yichen)[[Media:Jin Yichen Dragon Lantern Dance.pptx]]
#Topic 235: Bamboo Weaving(Chen Anqi)[[Media:Bamboo Weaving.pptx]]
#Topic 236: Landscapes and Tourism: Harbin Ice and Snow World(Xu Xinwen)[[Media:Harbin Ice and Snow World.pptx]]

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

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

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

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

⸻

English Translation:

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

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

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

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

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

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

Liuyang Fireworks
“When flaming trees join silver flowers in one blaze, and bridges of stars unlock their iron gates,” fireworks have, since ancient times, embodied humanity’s yearning for prosperity and blessings. These luminous spectacles paint the night sky with dreamlike beauty, symbolizing hopes for a better life. When it comes to fireworks, one cannot overlook Liuyang, a city renowned as the “Home of Chinese Fireworks.” With over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world.
The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.
A millennium of heritage has not only bestowed profound cultural depth upon Liuyang fireworks but also forged their unique brand identity. In 2006, the art of Liuyang fireworks craftsmanship was inscribed on China’s first batch of National Intangible Cultural Heritage lists, acknowledging its invaluable cultural significance. Today, Liuyang stands as the world’s largest production, trade, and research hub for fireworks. Home to over 400 manufacturing enterprises and thousands of associated businesses, it generates an annual output value exceeding 50 billion RMB, accounting for 70% of China’s total fireworks exports. These products reach more than 100 countries across the Americas, Europe, and Southeast Asia, solidifying Liuyang’s reputation as the global epicenter of fireworks.
However, the modern era presents new challenges for the fireworks industry. Safety and environmental protection have emerged as critical constraints. Historically, Liuyang’s fireworks relied on family-run workshops, posing significant safety risks. To address this, the local government relocated enterprises to mountainous areas, promoting industrial standardization, scale, and modernization. Leveraging big data and AI, they established comprehensive, intelligent supervision systems to ensure safety at every production stage. In terms of environmental protection, Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
In response to market shifts and technological advancements, a new generation of Liuyang’s “fireworks innovators” drives industry transformation. They have introduced products like “Urban Fireworks,” designed for urban settings. These safe, eco-friendly items blend aesthetic appeal with social interactivity, winning favor among young consumers. Innovating sales strategies, they integrate online and offline channels, utilizing “new retail” stores, Vlogs, and video platforms to reach wider audiences. Additionally, Liuyang has developed a “fireworks economy,” integrating pyrotechnics with cultural tourism. Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue. These shows combine cutting-edge technologies like drones and AI with cultural IPs, creating immersive experiences that have transformed Liuyang fireworks from a regional brand into a global cultural icon.
Emerging from the depths of history, Liuyang fireworks embrace the new era with innovation as their brush and culture as their ink. Against the backdrop of safety and sustainability, they paint a future more resplendent than ever. Serving as Liuyang’s cultural ambassador and a vivid example of traditional Chinese culture’s modern evolution, Liuyang fireworks continue to shine brightly, a timeless beacon of human ingenuity.

Terms and expressions
luminous 发光的
craftsmanship手艺，技艺
artisan工匠，手艺人
imperial朝廷的
leverage利用
crane无人机
resplendent辉煌的，灿烂的
beacon灯塔，信标
ingenuity心灵手巧

Questions
1.Why is Liuyang called “Home of Chinese fireworks”?
2.How did Li Tian invent the fireworks?
3.What did the locals address the environmental challenges of fireworks?
4.What do you know about the fireworks show held at the sky theater?
Answers
1.Because with over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world and Liuyang stands as the world’s largest production, trade, and research hub for fireworks.
2.Li Tian filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers.
3.Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
4.Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue.

AI Statement
In writing this paper, I utilized DeepSeek to help me with grammar refinement and lexical precision. Any errors in the text remain my responsibility.

浏阳烟花
“火树银花合，星桥铁锁开。” 烟花，自古以来就承载着人们对美好生活的向往与祝福，在夜空中绽放出如梦如幻的美景。而提及烟花，就不得不提湖南浏阳 —— 这座被誉为 “中国烟花之乡” 的城市，它以千余年的烟花制作历史，孕育出了享誉全球的浏阳烟花。
浏阳烟花的历史，最早可追溯到唐代。相传，“爆竹祖师” 李畋为驱散疫病，将火药装填于竹筒之中，利用爆炸产生的气浪与硝烟来改善环境，这便是鞭炮的雏形。此后，经过历代浏阳人的传承与创新，烟花制作工艺不断改进。从最初简单的竹筒爆竹，发展到宋代用纸筒和麻茎裹火药编成的 “编炮”，再到后来色彩斑斓、造型各异的烟花，浏阳烟花的发展历程见证了中国传统手工艺的演变与进步。到了明清时期，浏阳烟花的生产已颇具规模，成为当地重要的手工行业，并逐渐走向全国乃至世界。清雍正元年，浏阳鞭炮因其制作精良，被选为贡品，这无疑是对其品质的极高赞誉。至乾隆年间，浏阳花炮已称雄于湖南的三湘四水；光绪年间，更是达到极盛时期，产品远销日本、印度、朝鲜等亚洲国家。
千年的历史传承，不仅让浏阳烟花积累了深厚的文化底蕴，更铸就了其独特的品牌魅力。2006 年，浏阳花炮制作技艺列入第一批国家级非物质文化遗产名录，这是对浏阳烟花文化价值的高度认可。如今，浏阳已成为全球最大的烟花爆竹生产贸易基地和科研中心，拥有 400 余家烟花生产企业及上千家产业链上下游企业，花炮年产值超 500 亿元，出口占全国出口总量的 70%，产品销往美洲、欧洲、东南亚等 100 多个国家和地区，“世界烟花看浏阳” 的美誉名副其实。
然而，随着时代的发展，烟花产业也面临着诸多挑战。安全与环保，成为了制约其发展的两大关键因素。过去，浏阳烟花多以家庭式作坊生产为主，安全隐患较大。为了改变这一现状，浏阳市政府果断采取措施，将烟花企业 “赶上山”，推动产业向工厂化、规模化、标准化发展。同时，借助大数据监控和人工智能平台，实现了对烟花爆竹生产全过程、全方位、智能化的安全监管。在环保方面，浏阳烟花企业积极开展科研攻关，与南京理工大学、北京理工大学等高等院校广泛合作，研发新材料、新工艺、新产品，致力于打造低碳、绿色、环保的烟花新形象。如今，微烟、无硫、少尘已成为浏阳烟花生产的关键词。
面对市场变化和技术革新，新一代浏阳 “烟花人” 积极创新，推动烟花产业转型升级。一方面，他们重新定义产品，推出了 “城市烟花” 等适合城市休闲场景的新产品，这类产品安全性高、污染小，且有颜值与社交属性，深受年轻消费者喜爱。另一方面，创新销售方式，通过打造 “新零售” 门店、拍摄 Vlog、搭建视频号矩阵等线上线下融合的方式，让烟花走进更多消费者的世界。此外，浏阳还大力发展 “烟花经济”，将烟花与文化旅游产业深度融合。自 2023 年以来，每周六在天空剧院推出的周末焰火秀，已累计举办各类焰火燃放活动百余场，吸引游客 500 万人次，拉动消费 150 亿元。创意焰火秀通过与无人机、AI 等新科技相结合，以及融入国风、虚拟人物、热门影视等 IP 元素，为观众带来了一场场精彩纷呈的沉浸式视觉盛宴，也让浏阳花炮实现了从区域性品牌向国际知名 IP 的蝶变升级。
从历史深处走来的浏阳烟花，在新时代的浪潮中，正以创新为笔，以文化为墨，在安全与环保的底色上，描绘出更加绚烂多彩的未来画卷。它不仅是浏阳的城市名片，更是中国传统文化在现代社会中传承与发展的生动例证，绽放永不落幕的璀璨光芒。

问题
1.为什么浏阳被称为 “中国烟花之乡”？
2.李畋是如何发明烟花的？
3.当地人如何应对烟花带来的环境挑战？
4.你对天空剧院举办的烟花秀有什么了解？
答案
1.因为拥有千年以上的工艺传承，浏阳孕育出了令世界着迷的烟花，并且成为全球最大的烟花生产、贸易和研发中心。
2.李畋将火药填入竹筒中，用于驱散瘟疫。其爆炸力和产生的烟雾被认为能净化环境，这标志着鞭炮的雏形。
3.浏阳的企业与南京理工大学、北京理工大学等知名高校合作，研发新材料、新技术和新产品。他们的努力促成了低烟、无硫、低尘烟花的诞生，重新定义了行业的生态足迹。
4.自2023 年起，天空剧院每周周末举办的烟花秀已累计举办超百场活动，吸引 500 万游客，创造 150 亿元收入。

参考文献
1.谭仲池. 星空的灿烂文化. 北京：中国经济出版社，2007.
2.李秀琴. 烟花爆竹安全与管理. 北京：化学工业出版社，2007.
3.周仁友. 烟花爆竹工艺与防护. 北京：五洲传播出版社，2014.
4.姚辉. 烟火特效技术与应用. 长沙：湖南科技出版社，2009.

AI使用说明：
在写本论文时，本人使用了DeepSeek帮助修改语法和提升用词准确度。如有错误，责归本人。

=Deadline extended to June 20, 2025 - Final Exam=
<span style="color:red">Please upload your ppt if you not have done so so far.</span>
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]

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

[[Media:ChaBaiXi.pptx]]

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

Liuyang Fireworks
“When flaming trees join silver flowers in one blaze, and bridges of stars unlock their iron gates,” fireworks have, since ancient times, embodied humanity’s yearning for prosperity and blessings. These luminous spectacles paint the night sky with dreamlike beauty, symbolizing hopes for a better life. When it comes to fireworks, one cannot overlook Liuyang, a city renowned as the “Home of Chinese Fireworks.” With over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world.
The origins of Liuyang fireworks can be traced back to the Tang Dynasty. Legend has it that Li Tian, revered as the “Forefather Saint of Firecrackers,” filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers. Through generations of inheritance and innovation, Liuyang’s artisans continuously refined their craft. From the rudimentary bamboo-tube firecrackers of old times to the “string firecrackers” wrapped in paper and hemp stems during the Song Dynasty, and finally to today’s vibrant, intricately designed displays, Liuyang fireworks chronicle the evolution of traditional Chinese craftsmanship. During the Ming and Qing dynasties, Liuyang’s fireworks industry thrived, becoming a cornerstone of local handicrafts and expanding its reach nationwide and abroad. In the first year of the Yongzheng reign of the Qing Dynasty, Liuyang firecrackers were selected as imperial tributes, a testament to their superior quality. By the Qianlong era, they dominated the Hunan region, and during the Guangxu period, exports reached Asian countries like Japan, India, and Korea.
A millennium of heritage has not only bestowed profound cultural depth upon Liuyang fireworks but also forged their unique brand identity. In 2006, the art of Liuyang fireworks craftsmanship was inscribed on China’s first batch of National Intangible Cultural Heritage lists, acknowledging its invaluable cultural significance. Today, Liuyang stands as the world’s largest production, trade, and research hub for fireworks. Home to over 400 manufacturing enterprises and thousands of associated businesses, it generates an annual output value exceeding 50 billion RMB, accounting for 70% of China’s total fireworks exports. These products reach more than 100 countries across the Americas, Europe, and Southeast Asia, solidifying Liuyang’s reputation as the global epicenter of fireworks.
However, the modern era presents new challenges for the fireworks industry. Safety and environmental protection have emerged as critical constraints. Historically, Liuyang’s fireworks relied on family-run workshops, posing significant safety risks. To address this, the local government relocated enterprises to mountainous areas, promoting industrial standardization, scale, and modernization. Leveraging big data and AI, they established comprehensive, intelligent supervision systems to ensure safety at every production stage. In terms of environmental protection, Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
In response to market shifts and technological advancements, a new generation of Liuyang’s “fireworks innovators” drives industry transformation. They have introduced products like “Urban Fireworks,” designed for urban settings. These safe, eco-friendly items blend aesthetic appeal with social interactivity, winning favor among young consumers. Innovating sales strategies, they integrate online and offline channels, utilizing “new retail” stores, Vlogs, and video platforms to reach wider audiences. Additionally, Liuyang has developed a “fireworks economy,” integrating pyrotechnics with cultural tourism. Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue. These shows combine cutting-edge technologies like drones and AI with cultural IPs, creating immersive experiences that have transformed Liuyang fireworks from a regional brand into a global cultural icon.
Emerging from the depths of history, Liuyang fireworks embrace the new era with innovation as their brush and culture as their ink. Against the backdrop of safety and sustainability, they paint a future more resplendent than ever. Serving as Liuyang’s cultural ambassador and a vivid example of traditional Chinese culture’s modern evolution, Liuyang fireworks continue to shine brightly, a timeless beacon of human ingenuity.

Terms and expressions
luminous 发光的
craftsmanship手艺，技艺
artisan工匠，手艺人
imperial朝廷的
leverage利用
crane无人机
resplendent辉煌的，灿烂的
beacon灯塔，信标
ingenuity心灵手巧

Questions
1.Why is Liuyang called “Home of Chinese fireworks”?
2.How did Li Tian invent the fireworks?
3.What did the locals address the environmental challenges of fireworks?
4.What do you know about the fireworks show held at the sky theater?
Answers
1.Because with over a thousand years of craftsmanship, Liuyang has given birth to fireworks that captivate the world and Liuyang stands as the world’s largest production, trade, and research hub for fireworks.
2.Li Tian filled bamboo tubes with gunpowder to dispel plagues. The explosive force and resulting smoke were believed to purify the environment, marking the embryo of firecrackers.
3.Liuyang’s enterprises collaborated with prestigious universities, such as Nanjing University of Science and Technology and Beijing Institute of Technology, to develop new materials, techniques, and products. Their efforts have led to the creation of low-smoke, sulfur-free, and low-dust fireworks, redefining the industry’s ecological footprint.
4.Since 2023, weekly weekend fireworks show at the Sky Theater have hosted over a hundred events, attracting 5 million visitors and generating 15 billion yuan in revenue.

AI Statement
In writing this paper, I utilized DeepSeek to help me with grammar refinement and lexical precision. Any errors in the text remain my responsibility.

浏阳烟花
“火树银花合，星桥铁锁开。” 烟花，自古以来就承载着人们对美好生活的向往与祝福，在夜空中绽放出如梦如幻的美景。而提及烟花，就不得不提湖南浏阳 —— 这座被誉为 “中国烟花之乡” 的城市，它以千余年的烟花制作历史，孕育出了享誉全球的浏阳烟花。
浏阳烟花的历史，最早可追溯到唐代。相传，“爆竹祖师” 李畋为驱散疫病，将火药装填于竹筒之中，利用爆炸产生的气浪与硝烟来改善环境，这便是鞭炮的雏形。此后，经过历代浏阳人的传承与创新，烟花制作工艺不断改进。从最初简单的竹筒爆竹，发展到宋代用纸筒和麻茎裹火药编成的 “编炮”，再到后来色彩斑斓、造型各异的烟花，浏阳烟花的发展历程见证了中国传统手工艺的演变与进步。到了明清时期，浏阳烟花的生产已颇具规模，成为当地重要的手工行业，并逐渐走向全国乃至世界。清雍正元年，浏阳鞭炮因其制作精良，被选为贡品，这无疑是对其品质的极高赞誉。至乾隆年间，浏阳花炮已称雄于湖南的三湘四水；光绪年间，更是达到极盛时期，产品远销日本、印度、朝鲜等亚洲国家。
千年的历史传承，不仅让浏阳烟花积累了深厚的文化底蕴，更铸就了其独特的品牌魅力。2006 年，浏阳花炮制作技艺列入第一批国家级非物质文化遗产名录，这是对浏阳烟花文化价值的高度认可。如今，浏阳已成为全球最大的烟花爆竹生产贸易基地和科研中心，拥有 400 余家烟花生产企业及上千家产业链上下游企业，花炮年产值超 500 亿元，出口占全国出口总量的 70%，产品销往美洲、欧洲、东南亚等 100 多个国家和地区，“世界烟花看浏阳” 的美誉名副其实。
然而，随着时代的发展，烟花产业也面临着诸多挑战。安全与环保，成为了制约其发展的两大关键因素。过去，浏阳烟花多以家庭式作坊生产为主，安全隐患较大。为了改变这一现状，浏阳市政府果断采取措施，将烟花企业 “赶上山”，推动产业向工厂化、规模化、标准化发展。同时，借助大数据监控和人工智能平台，实现了对烟花爆竹生产全过程、全方位、智能化的安全监管。在环保方面，浏阳烟花企业积极开展科研攻关，与南京理工大学、北京理工大学等高等院校广泛合作，研发新材料、新工艺、新产品，致力于打造低碳、绿色、环保的烟花新形象。如今，微烟、无硫、少尘已成为浏阳烟花生产的关键词。
面对市场变化和技术革新，新一代浏阳 “烟花人” 积极创新，推动烟花产业转型升级。一方面，他们重新定义产品，推出了 “城市烟花” 等适合城市休闲场景的新产品，这类产品安全性高、污染小，且有颜值与社交属性，深受年轻消费者喜爱。另一方面，创新销售方式，通过打造 “新零售” 门店、拍摄 Vlog、搭建视频号矩阵等线上线下融合的方式，让烟花走进更多消费者的世界。此外，浏阳还大力发展 “烟花经济”，将烟花与文化旅游产业深度融合。
自 2023 年以来，每周六在天空剧院推出的周末焰火秀，已累计举办各类焰火燃放活动百余场，吸引游客 500 万人次，拉动消费 150 亿元。创意焰火秀通过与无人机、AI 等新科技相结合，以及融入国风、虚拟人物、热门影视等 IP 元素，为观众带来了一场场精彩纷呈的沉浸式视觉盛宴，也让浏阳花炮实现了从区域性品牌向国际知名 IP 的蝶变升级。
从历史深处走来的浏阳烟花，在新时代的浪潮中，正以创新为笔，以文化为墨，在安全与环保的底色上，描绘出更加绚烂多彩的未来画卷。它不仅是浏阳的城市名片，更是中国传统文化在现代社会中传承与发展的生动例证，绽放永不落幕的璀璨光芒。

问题
1.为什么浏阳被称为 “中国烟花之乡”？
2.李畋是如何发明烟花的？
3.当地人如何应对烟花带来的环境挑战？
4.你对天空剧院举办的烟花秀有什么了解？
答案
1.因为拥有千年以上的工艺传承，浏阳孕育出了令世界着迷的烟花，并且成为全球最大的烟花生产、贸易和研发中心。
2.李畋将火药填入竹筒中，用于驱散瘟疫。其爆炸力和产生的烟雾被认为能净化环境，这标志着鞭炮的雏形。
3.浏阳的企业与南京理工大学、北京理工大学等知名高校合作，研发新材料、新技术和新产品。他们的努力促成了低烟、无硫、低尘烟花的诞生，重新定义了行业的生态足迹。
4.自2023 年起，天空剧院每周周末举办的烟花秀已累计举办超百场活动，吸引 500 万游客，创造 150 亿元收入。

参考文献
1.谭仲池. 星空的灿烂文化. 北京：中国经济出版社，2007.
2.李秀琴. 烟花爆竹安全与管理. 北京：化学工业出版社，2007.
3.周仁友. 烟花爆竹工艺与防护. 北京：五洲传播出版社，2014.
4.姚辉. 烟火特效技术与应用. 长沙：湖南科技出版社，2009.

AI使用说明：
在写本论文时，本人使用了DeepSeek帮助修改语法和提升用词准确度。如有错误，责归本人。