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User:Zhang Minjie

2025-12-30T01:50:51Z

Zhang Minjie: /* 期末论文 */

My name is Zhang Minjie, which is 张敏杰 in Chinese, a first-year English Translation postgraduate at Hunan Normal University. I graduated from Jiangsu University of Science and Technology, where I took courses like Advanced English and English Writing. In my spare time, I love watching dramas and reading—these hobbies always boost my enthusiasm for translation.

==期末论文==

===栖凤渡鱼粉===

====介绍====

=====历史溯源=====

栖凤渡鱼粉的由来与三国时期庞统的传说沾边，真正成型是在清代中期的栖凤渡地区。西河流经这里，水流平缓，鲢鱼产量高，正好成了鱼粉的核心食材。到晚清的时候，湘南一带种辣椒的越来越多，茶油加工作坊也跟着冒了出来。当地渔民就把这三样东西和米粉凑在一块儿，做出了这款红汤鱼粉。

民国时期，栖凤渡码头成为重要货运节点，码头工人需要快速、耐饥、驱寒的食物，鱼粉因价格实惠、制作快速得以流行。当时镇上知名的“刘记鱼粉”每天凌晨三点起熬汤，五点准时营业。工人们便端着碗，蹲在码头边嗦粉。

二十世纪八十年代，郴州矿产开发推动鱼粉从栖凤渡镇传入郴州市区。1987年，第一家挂牌“正宗栖凤渡鱼粉”的店铺在郴州国庆北路开业，采用前店后坊模式，明厨制作。二十一世纪初，真空包装技术实现鱼粉对外销售，但风味略有损失。

=====食材选择=====

栖枫渡鱼粉传统制作工艺对原材料挑选和处理标准极高。选鱼这一步尤其讲究，一般只用西河流域自然生长的野生鲢鱼，重量得控制在一斤半到两斤之间。这种鱼生长在水流湍急的水域，肉质紧实有嚼劲，清晨捕上来之后，必须在两小时内完成加工。现在多数店铺用的是养殖鲢鱼，看重品质的商家则会专门制定用水库鱼。加工时要把鱼头和鱼身分开，鱼头用来熬汤底，鱼身切成片备用。

米粉取当地晚季采收稻米，经8小时浸泡后研磨成浆。依循传统工艺，将米浆均匀摊放在竹制蒸笼托盘上以柴火蒸3分钟制成厚度约1.5毫米的粉皮。粉皮稍作降温后人工折叠，用专用刀具切成1厘米宽条状。这种鲜米粉只能保存一天，口感兼具滑嫩与嚼劲。

选料锁定本地五爪辣椒，需待秋季完全熟透变红后再行摘取。晾晒环节将辣椒平铺在竹席上，每日翻动晾晒，半月便可脱水干透。使用前剔除七成上下的辣椒籽，再用石臼捣碾成3-5毫米的辣椒碎片。

茶油得选当年新榨的，色颜色要金黄澄澈。用之前得先过滤，去掉里面的杂质。传统做法里，茶油要和少量桂皮、八角一起加热到150℃，把香料捞出来后，再用来炼制辣椒，这样能让油香更有层次。辣椒与茶油的重量配比大概是1:5。

=====制作流程=====

制作栖枫渡鱼粉要先将鲢鱼头对半劈开，鱼骨切段。锅烧热后倒入适量茶油，待油热放入鱼头鱼骨，用中火煎至两面金黄。随即加入足量冷水，大火煮沸后仔细撇去浮沫，再转小火，保持汤微沸状态慢慢熬。熬制过程需保持足够时长且不盖锅盖，使鱼腥味充分散发。最终得到一锅乳白浓郁的鱼汤。

另取一锅倒入较多茶油加热至指定温度后离火。待油温稍降，迅速倒入备好的辣椒碎片，此时会产生大量气泡，需持续搅拌片刻。再加入一勺豆豉，利用余温烘出香味，静置一天一夜让辣椒香气充分融入油中制成红油备用。

取适量熬好的鱼汤，加入几勺炼好的红油，大火煮沸。调入适量盐、少许酱油及少量白胡椒粉。同时另起一锅烧开水，放入鲜米粉快速烫煮片刻，捞出放入碗中。最后将鱼片放入调味沸腾的汤中稍煮至变白，连汤带鱼片一同倒入碗中。

=====风味特点=====

栖枫渡鱼粉的辛辣口感有着清晰递进层次。入口最先感知辣椒馥郁香气而非灼热辣感，合适温度茶油能充分激发辣椒内含芳香成分。三秒时间过后，辛辣滋味慢慢扩散开来且刺激感十分柔和。这种辣味滞后呈现和辣椒碎块大小有关，体积偏大的碎块需要耗费一定时长释放辛辣因子。

鱼粉的鲜味来源于三个核心部分：鱼头鱼骨长时间熬煮产生的游离氨基酸、豆豉提供的发酵鲜味以及少量酱油带来的酱香。三种鲜味呈现具有时序差异，鱼鲜最先感知，发酵鲜味随后呈现，酱香最后呈现。

温度把控是栖枫渡鱼粉风味展现的核心要素。鱼粉端上桌时汤品温度约为85℃，盛装所用的碗具需预热加温。此温度环境下辛辣味更易挥发，可经鼻腔直接被人体感知。食客进食过程汤温逐步降至60℃左右，这一阶段味蕾对鲜香滋味的感知度上升，能更真切体会汤底的浓厚口感。

=====现状与变化=====

现在郴州城里开的鱼粉店已超过200家，真正守着老法子做的也就三十家上下。传统做法的关键就是不用干米粉，全用新鲜的，店里红油辣料都是现熬，汤底也得每天换新。这些坚持老工艺的店，一天能卖出两三百到四百碗，一碗的价格大概在十五到二十五块钱。

栖凤渡鱼粉工业化量产产品自 2015 年开始上市，主要靠各类电商平台卖货。靠着高温灭菌和真空封装这两项技术，产品的保质期能延长到180 天。不过这种预制鱼粉的口感和店里现做的比起来差得不少，问题主要出在米粉的口感变了，食材原本的香味也散掉了。2022年的时候，袋装栖凤渡鱼粉的总产量差不多有3000万元。

年轻一代厨师试着给栖凤渡鱼粉做些改良，比如减少用油量，加些青菜、木耳之类的配菜。鱼粉的核心顾客还是四十岁以上的本地人，他们更爱吃传统口味的。有些店还推出了辣度可选的服务，把红油用量分成微辣、中辣、特辣三个标准等级。

在手艺传承这块，当地开了两个鱼粉制作培训班，课程一共七天，教的都是基础的制作手艺。资深的从业者都觉得，火候的把控和调味的配比要达到均衡，至少得练上三个月才能摸到点门道。现在有记载的老师傅大概有十二位，年纪最大的已经七十六岁了，还是每天盯着店里熬汤底。

栖凤渡鱼粉原本只在早上卖，现在不少店已经全天供应了，晚上的销量差不多能占到全天的三成。这种消费场景的转变和当地人作息的改变有关，越来越多人把鱼粉当成中午或者晚上填肚子的方便选择。

==Final Exam Paper==

===Qifengdu Fish Rice Noodles===

====Introduction====

=====Historical Origins=====

Qifengdu Fish Rice Noodles have rooted in the legend of Pang Tong from the Three Kingdoms. The dish really took shape in Qifengdu Town in the mid-Qing Dynasty. The Xi River flows slowly here, with lots of silver carp. These fish gave the main ingredient for the dish. By the late Qing Dynasty, chili growing became common in southern Hunan. Tea oil processing workshops also appeared around this time. Local fishermen started mixing these things with rice noodles. They made this special red-broth noodle dish this way.

In the Republic of China time, Qifengdu Wharf turned into an important freight center. Dockworkers needed food that was quick to get, filling enough, and could warm them up. Fish noodles got popular because they were cheap and made fast. The famous “Liu’s Fish Noodles” shop in town started cooking its broth at 3 o’clock in the morning every day. It opened right on time at 5 a.m. Workers would then carry their bowls, squatting by the wharf to slurp their noodles.

In the 1980s, with the development of Chenzhou’s mining industry, the dish spread from Qifengdu Town to the city proper. In 1987, the first shop bearing the sign “Authentic Qifengdu Fish Noodles” opened on Guoqing North Road in Chenzhou, operating on a front-shop, back-kitchen model with an open cooking area. In the early 21st century, vacuum-packing technology allowed the noodles to be sold to other regions, though with some compromise to the original flavor.

=====Ingredient Selection=====
The traditional method for preparing this dish has very strict requirements for the fish. People prefer wild silver carp from the West River. These fish live in areas with rapid currents, and usually weigh between 1.5 and 2 pounds. Due to this environment, their meat is firm. They are caught in the early morning. After being caught, they must be processed within two hours. Nowadays, farmed silver carp is used more commonly. However, some quality-conscious stores still insist on using fish from reservoirs. They do this to make the taste of the sold fish closer to that of wild fish. The head and body of the fish are processed separately: The head is used to make the soup, and the body is cut into slices.

The rice noodles are made from the late-season harvested rice from the local area, soaked for eight hours before being ground into slurry. According to the traditional method, this paste is evenly spread evenly on a bamboo steamer tray and steamed over wood fire for about three minutes. Thus, thin noodle sheets about 1.5 millimeters thick are made. After cooling a little, it is folded by hand and cut into strips roughly one centimeter wide with a special knife. These fresh noodles can only be kept for one day, and have a smooth texture and a good chewiness.

The chili must be the local "Five-Claw", and it is only harvested in autumn. At that time, it will turn completely red. To dry them, people spread the chili thinly on bamboo mats, and they need to turn them over every day. This process takes around fifteen days. Before using them, about 70% of the seeds need to be removed. Then the chili is placed in a stone bowl and crushed. They thus become small pieces measuring 3 to 5 millimeters in size.

The tea oil must be the one pressed in the current year, golden and clear. It needs to be filtered to remove dirt or debris. Traditional methods require heating the tea oil with a small amount of cinnamon and star anise before removing these spices a step named extracting the aroma to endow the oil with rich fragrance and prepare it for chili frying. The ratio of tea oil to chili is about 1:5.

=====Production Process=====

First, prepare the soup base. Wash the head of the big carp, cut it into half, and cut the fish bones into small pieces. Pour some tea oil into the frying pan and heat the oil. When the oil is hot, add the fish head and fish bones. Fry them over medium heat until both sides turn golden brown. Pour in enough cold water and heat the water to a vigorous boil. Carefully skim off the surface foam and reduce the heat. Let the soup simmer for a long time. Do not cover the frying pan lid, as this will allow the fishy smell to fully dissipate. Finally, you will get a thick, milky white fish soup with a very delicious taste.

Next, make the chili oil. Take another frying pan and pour in more tea oil. Heat the oil until it is hot enough. Then remove the pan from the heat, let the oil cool slightly, and quickly pour in the prepared chili powder. This will cause the oil to bubble a lot, and quickly stir it for a moment. Add a spoonful of fermented black beans and let them release their aroma using the residual heat. Place this chili oil for the entire night and day to allow the aroma of the chili to fully blend into the oil.

Finally, assemble the dish. Take an appropriate amount of the cooked fish soup and add a few spoons of the red chili oil. Bring this mixture to a boil. Add some salt, a little soy sauce, and a little white pepper powder. Put another pot on the stove and boil some water. Quickly blanch the fresh rice noodles in the boiling water. Then pour off the water and put the noodles in a bowl. Put the fish fillets in the seasoned boiling soup and cook for a short while until the fish meat turns white. Stop cooking when the fish meat is white and immediately pour the soup and fish onto the noodles in the bowl.

=====Flavor Profile=====

The noodles’ spiciness has clear layers. The first feeling is the chili’s aroma, not its heat, because the tea oil at the right temperature first releases the chili's fragrant substances. The burning heat starts to show up after about three seconds but remains in control, not too sharp to stand. This slow-coming effect comes from bigger chili pieces, which need more time to release spicy part of chili.

The broth's savory taste comes from three things: the free amino acids from slow cooking fish heads and bones foe long, the fermented flavor provided by the black beans, and the savory depth from the small amount of soy sauce. These savory tastes show up at different moments: the fish’s freshness first, followed by the fermented bean flavor, with the soy’s richness lingering last.

Temperature control matters most for the flavor experience. The noodles get served hot, around 85°C, in a pre-warmed bowl. This temperature makes spicy substances float up more easily, and you smell them right through your nose. As one eats and the temperature gradually drops to around 60°C, the taste buds grow more sensitive to the savory taste, allowing for a better appreciation of the broth's smooth and rich taste.

=====Current Status and Variations=====

Currently, there are over 200 fish noodle shops in Chenzhou's urban area, but only about 30 steadfastly adhere to traditional methods. The hallmarks of traditional preparation are: using fresh noodles instead of dried; preparing the chili oil on-site; and simmering a fresh batch of fish broth daily. These shops sell between 200 and 400 bowls per day on average, priced from 15 to 25 RMB.

Industrialized items started showing up around 2015. They are sold mostly on online shopping platforms. These products use high-temperature sterilization and vacuum packaging, achieving a shelf life of up to 180 days. However, their texture and smell are quite different from fresh ones, mainly due to changes in the noodle's thickness and a loss of fragrance. In 2022, the output value of packaged Qifengdu Fish Noodles was approximately 30 million RMB.

Younger cooks are trying new things, such as reducing the oil content or adding more side dishes like greens and wood ear fungus. However, the core consumer group—the local over 40—still prefers the traditional version.

Fish noodles used to be just a breakfast food. That role is slowly changing. Some shops now sell them all day, with evening sales making up about 30% of their daily total. This change links to local people’s lifestyle changes, as more people choose fish noodles as a quick and filling option for lunch or dinner.

====References====

[1]谢苏立,曾双全.栖凤渡鱼粉的价值转译路径探究[J].中国食品,2024,(22):120-122.

[2]张周洋.《小吃湘菜第37部分：栖凤渡鱼粉》地方标准顺利通过专家评审[J].食品工业,2023,44(05):186.

[3]谢苏立.饮食类非物质文化遗产的保护与传承研究——以栖凤渡鱼粉制作技艺为例[J].产业与科技论坛,2020,19(10):242-244.

[4]郴品郴味 “湘”当有味 | 一碗让你“鲜辣入魂”的栖凤渡鱼粉到底有多上头？_文教卫_郴州站_红网https://cz.rednet.cn/content/646941/56/15121379.html

[5]郴州日报数字报-鱼粉里的人间烟火https://e.czxww.cn/html/202509/10/content_93549.html

[6]散文丨郴州人的早餐，从一碗粉开始…… - 郴州 - 新湖南https://www.hunantoday.cn/news/xhn/202507/30078592.html

[7]小镇大业｜一碗鱼粉“吸粉”，向十亿级产业争渡_郴州_湖南频道_红网https://hn.rednet.cn/content/646848/91/13715604.html

[8]栖凤渡鱼粉_百度百科https://baike.baidu.com/item/%E6%A0%96%E5%87%A4%E6%B8%A1%E9%B1%BC%E7%B2%89/4136403

====Terms====

Qifengdu Fish Rice Noodles 栖凤渡鱼粉

Southern Hunan 湘南

reservoir fish 水库鱼

late-season rice 晚稻米

rice slurry 米浆

Five-Claw chili 五爪辣椒

fermented black beans 豆豉

bamboo steamer tray 竹制蒸盘

stone mortar 石臼

vacuum packaging 真空包装

====Questions====

1. When did the dish truly take shape?

2. Name the three core ingredients besides rice noodles.

3. What is a key step for making the fish broth clear and non-fishy?

4. How is the spiciness described?

5. What identifies a traditionally made bowl?

====Answers====

1. In the mid-Qing Dynasty.

2. Silver carp, Five-Claw chili, and tea oil.

3. Skimming off the foam and simmering without a lid.

4. It has distinct layers, starting with aroma, not immediate heat.

5. Using fresh noodles, on-site chili oil, and daily-simmered broth.

Uvu/index.php/User:Zhang Meirong

2025-12-29T14:21:31Z

Zhang Minjie:

==Final Exam Paper==

===Mount Sanqing===

==== Introduction====

Mount Sanqing is located in the northeastern part of Shangrao City, Jiangxi Province, standing the junction of Yushan County and Dexing City. As both a World Natural Heritage and a Global Geopark, its core landscapes include not only extensive granite peak forests but also vivid iconic scenes such as “Oriental Godness(东方女神)” and “Giant Boa(巨蟒出山)’. Through thousands of years of erosion, the landforms here have been diverse, with well-preserved ecology. Vegetation distributes vertically along the mountain, sloping in distinct layers, and numerous rare animals and plants inhabit the area. In spring, the mountains are covered with azaleas; in summer, clouds and mist surge in the valleys; in autumn, the entire mountains and forests turns colorful; in winter, rime hangs on the branches, pure and translucent. With the change of seasons, it resembles a vivid landscape scroll.

The most distinctive feature of Mount Sanqing lies in the integration of nature and humanity, which exactly corresponds to the core concept of “Sanqing(三清)” in Taoism. As early as the Jin Dynasty, Ge Hong(葛洪) built a hut here to refine elixirs(炼制丹药). Subsequent Taoist activities in successive dynasties gradually formed an architectural complex centered on the Sanqing Temple(三清宫). Unlike traditional buildings arranged in a central axis symmetry, these structures are constructed according to the Eight Trigrams orientation(八卦方位), quietly exiting among the mountains and rivers, fully embodying the idea of “Dao operates naturally(道法自然)”. Coupled with inscriptions and poems left by literati and scholars, as well as legends circulating among the people, Mount Sanqing is no longer merely a mountain. It has become a cultural sacred mountain where people place their hermitic ideals, aesthetic pursuits, and spiritual beliefs, embodying China’s natural philosophy, religious thoughts, and artistic aesthetics.

====Architectural Characteristics: The Philosophical Thought of “Dao Operates Naturally”====

The architecture of Mount Sanqing fully implements the Taoist concept of “harmony between man and nature(天人合一)”. Its core lies in reverence for nature and rich philosophical connotations, and it doesn't deliberately pursues large scale or gorgeous decorations. The ancient architectural complex of Sanqing Temple on the mountainside is the most representative. Its layout breaks away from the traditional central axis symmetry and is constructed along the mountain terrain and according to the Eight Trigrams orientation(八卦方位), integrating the thought of “Man’s law is earthly, earth’s law is heavenly, heaven’s law is Dao, and Dao operates naturally(人法地，地法天，天法道，道法自然)” into the architecture. The main hall adopts stone and wood materials, exuding a simple and unsophisticated texture. Its color coordinates with the surrounding green pines and brown stones, perfectly aligning with the Taoist aesthetics of “maintain originality and embrace simplicity(见素抱朴)” and “still water runs deep(大智若愚)”.

The location and function of these buildings are deeply meaningful. The Fenglei Pagoda(风雷塔)”adjacent to the cliff is small in size but actually serves as a ritual platform to guard geomancy and suppress evil spirits, with spiritual significance far exceeding its practical use. Relics such as elixir refining wells(炼丹井) and Feixian Platform (飞仙台) can be found everywhere in the mountains, transforming the illusory idea of “ascending to immortality” into tangible scenes that can be seen and touched. The architecture of Mount Sanqing all carries a sense of “hermitage”. Instead of demonstrating human power through conquering nature, it guides people to understand the laws of the mountain and gradually achieve spiritual sublimation.

====Landscape Imagery: A Dreamlike “Fairyland on Earth”====

The landscape of Mount Sanqing vividly reflects the Chinese classical aesthetic of “Draw artistic inspiration from both within and without(外师造化，中得心源)”. The natural scenery here is not merely geographical features; after thousands of years of forging by nature, it has gained deeper connotations. The core of its conception is to create a sense of “fairy mountain” — the three towering peaks correspond exactly to the “Sanqing(三清)”, the highest deities in Taoism, making the entire mountain resemble a miniature universe. The surging sea of clouds is not just a weather phenomenon but is interpreted as the “realm of Great Emptiness(太虚之境)” isolated from the mortal world and the “Fundamental Qi(天地元气)” that nurtures all things, filled with the ethereal and mysterious atmosphere of a “fairyland”.

This artistic sense is also reflected in the experience of “stepping into a landscape painting”. The uniquely shaped granite peaks, combined with lush ancient pines, conform to the beauty of Chinese landscape paintings. When pedestrians walk in the mountains, they feel as if they are stepping into a long ink wash scroll, transforming from viewers of the painting to parts of it. Its profound artistic connotation lies in the experience of “purify the mind to attain enlightenment(澄心悟道)”— the gurgling springs and rustling pines, these “natural sounds”, can wash away the mundane troubles. The quiet environment combining vision and hearing allows people to go beyond the surface of viewing scenery and gradually achieve the spiritual purity pursued by Taoism, adding a philosophical flavor to this natural journey.

====Mythological Legends: Local Narratives from Human Life====

The mythological legends of Mount Sanqing are deeply rooted in local narratives. People endow inanimate mountains and rivers with human personalities, weaving stories around them and turning natural spaces into warm cultural places. The ingenuity of these legends lies in making those cold landscapes understandable and approachable. For example, facing the Sichun Goddess Peak (司春女神峰), the ancestors interpreted it through the myth of the Queen Mother of the West(西王母), transforming the granite into a deity in charge of life, making the originally awe-inspiring space instantly intimate. The legend of “Giant Boa Emerging from the Mountain(巨蟒出山)” often carries a warning meaning, adding an educational meaning to the cold boulder. Taoist legends represented by Ge Hong refining elixirs(葛洪炼丹) have rooted the broad Taoist beliefs in specific caves and enhanced the mountain’s status in orthodox religion. Folk stories such as “Fox Eating Chicken(狐狸啃鸡)” are closer to ordinary people’s lives, embodying simple concepts of ‘what goes around comes around(善有善报，恶有恶报)” and reflecting the values in people’s hearts.

These widely circulated and time-honored stories have turned every tree and grass on Mount Sanqing into symbols of cultural memory. Legends not only explain landforms but also serve as carriers for local people to establish cultural identity and pass on values. When people walk in the mountains, they step not only on stones and soil but also on a spiritual carrier woven by myths, relating heaven, earth, humans, and gods.

====Hermitic Fashion: A Spiritual Haven of “Detachment from Worldly Affairs”====

The hermitic culture of Mount Sanqing is an embodiment of the traditional Chinese scholar-official concept of “In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven达则兼济天下，穷则独善其身)”. It is not a passive escape from reality but an active pursuit of spiritual independence in nature. The core appeal of this mountain lies in providing a quiet residence and an environment for spiritual purification — the rugged terrain and lingering clouds naturally form a barrier separated from the mundane world, offering both physical and psychological protection for hermits. The combination of clear water, ancient pines, and secluded valleys in the mountains is regarded as an ideal place to wash away troubles and regain one’s original aspirations.

This culture has clear practical directions. Taoist believers represented by Ge Hong regard the mountains and forests as places for refining elixirs and maintaining health, aiming to achieve both physical and spiritual improvement. Literati influenced by Taoism come here to live in seclusion; for example, Zhu Xi(朱熹) once gave lectures here. They attach more importance to using mountains and rivers as quiet places for reading and thinking, cultivating their sentiments in nature. The hermitic tradition of Mount Sanqing essentially transforms natural space into a land of freedom, allowing scholars to take refuge here during political setbacks or turbulent times, transforming people from mundane ones pursuing fame and fortune to their true selves close to nature. This has also made Mount Sanqing a cultural landmark carrying the wisdom of advance and retreat and the ideal of independent personality of Chinese scholars.

====Modern Cultural and Creative Industries: Reconstruction and Innovation of Cultural Imagery====

The modern humanistic style of Mount Sanqing focuses on the innovation and reconstruction of traditional imagery. Cultural practices have long evolved from ancient self-cultivation and enlightenment to modern experience and recreation. Modern space design and tourism planning often draw on traditional imagery: the high-altitude plank road is named “Sunshine Coast(阳光海岸”, and both its name and walking path are deliberately designed to create a feeling of wandering in the sea of clouds in a fairyland; the landscape interpretation system retells myths and Taoist stories, turning natural wonders into cultural scenes with short stories.

Hermitic culture has also been developed into popular spiritual healing products — high-end hotels in the mountains are often named “Guiyin(归隐)” or “Wendao(问道)”, offering a short-term experience of “detachment from worldly affairs”; cultural and creative products such as “Mount Sanqing Ice Cream” and “Goddess Peak Folding Fan(女神峰折扇)” transform landscape imagery into portable consumption symbols; short videos have further amplified its image of a “fairyland on earth”. This not only reflects the shift, simplification, and repackaging of classical imagery in the consumer era but also brings new opportunities for the contemporary communication of traditional culture.

====Summary====

Architecture is the concrete expression of philosophical thoughts, landscapes are the reflection of the spiritual world, legends are the dreams of collective memory, hermitage is the life choice of scholars, and cultural and creative industries are the contemporary regeneration of traditional elements. The cultural depth of Mount Sanqing lies in its ability to allow people of different eras and identities to perceive the spiritual pursuits and feelings they need from the rocks, mountains, clouds, and mist — this is exactly the ultimate embodiment of the Chinese cultural spirit of “Harmony with uniformity(和而不同)” in mountain landscapes.

===References===

[1]陈斯伟. 大美三清山[J]. 环境经济, 2021, (02): 50-51.

[2]黄和平, 王智鹏, 林文凯. 风景名胜区旅游资源价值损害评估——以三清山巨蟒峰为例[J]. 旅游学刊, 2020, 35(09): 26-40.

[3]黄建军. 三清山: 秀中藏秀,奇中出奇[J]. 江西电力, 2021, 45(07): 57.

[4]李建立. 三清山美景[J]. 宏观经济研究, 2015, (09): 2.

[5]李忠东. 峰林的家乡松石的画廊——三清山世界地质公园探秘(上)[J] .资源与人居环境, 2018, (01): 28-33.

[6]刘春燕, 毛建华, 叶民盛. 三清山道教文化旅游资源开发研究[J]. 江西社会科学, 2003, (04): 229-230.

[7]刘佩芝. 试论三清山申报世界遗产的优势[J]. 上饶师范学院学报, 2007, (05): 29-33.

[8]汪源林, 李小龙, 刘纯青. 三清山世界自然遗产地的可持续发展[J]. 中国园林, 2014, 30(11): 85-87.

[9]薛花, 周堃. 三清山遗产资源评价及保护研究[J]. 安徽农业科学, 2016, 44(09): 206-209.

[10]杨敏, 李芳媛. 文旅融合视角下的名山旅游品牌提升研究——以江西四大名山为例[J] .低碳世界, 2019, 9(10): 274-275.

[11]袁晶, 陈凡. 浅谈三清山风景区摩崖石刻造像艺术美学意蕴[J]. 大众文艺, 2018, (16): 66-67.

[12]百度百科

[13]China discovery网站

[14]三清山官网

===Terms===

八卦The Eight Trigrams

三清宫Sanqing Temple

风雷塔Fenglei Pagoda

炼丹井elixir refining wells

飞仙台 Feixian Platform

东方女神Oriental Godness

巨蟒出山Giant Boa

司春女神Sichun Godness

狐狸啃鸡Fox Eating Chicken

葛洪炼丹Ge Hong refining elixirs

羽化登仙ascend to immortality

太虚之境the realm of Great Emptiness

天地元气Fundamental Qi

澄心悟道purify the mind to attain enlightenment

善恶报应What goes around comes around.

道法自然Dao operates naturally.

天人合一harmony between man and nature

见素抱朴maintain originality and embrace simplicity

大智若愚still water runs deep

和而不同Harmony with Uniformity

外师造化，中得心源Draw artistic inspiration from both within and without.

人法地，地法天，天法道，道法自然Man’s law is earthly, earth’s law is natural, and heaven’s law is Dao.

达则兼济天下，穷则独善其身In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven.

===Questions===

1. How did Mount Sanqing get its name?

2. What scenic spots does Mount Sanqing have?

3. Which religion is closely associated with Mount Sanqing?

4. which character’s story is the Sichun Goddess Peak based on?

5. Why was Mount Sanqing a place for literati to live in seclusion in ancient times?

===Answers===

1. It gets its name because the three peaks of Yujing, Yuxu, and Yuhua correspond to the “Sanqing” (the highest deities) in Taoism.

2. Key scenic spots include the Sichun Goddess Peak, Giant Boa Emerging from the Mountain, Sanqing Temple, Yujing Peak, and the West Coast High-Altitude Plank Road, and so on.

3. It is most closely associated with Taoism, serving as a Taoist blessed land and a practical model of natural philosophy.

4. It is based on the myth of the Queen Mother of the West, symbolizing vitality.

5. Its dangerous geography and Taoist atmosphere provided literati with a spiritual pure land away from the mundane world.

==期末考试论文==

===三清山===

====介绍====

三清山在江西省上饶市东北部，正好坐落在玉山县和德兴市的交界处。它既是世界自然遗产，也是世界地质公园，核心景观除了成片的花岗岩峰林，还有“东方女神”“蟒蛇出山”这类很有画面感的象形景观。经过千百年的风化侵蚀，这里的地貌变得丰富多样，生态保护得很好，植被顺着山势垂直分布，层次分明，还生活着不少珍稀的动植物。春天一到，山间满是杜鹃花；夏天云雾在山谷里翻涌；秋天整座山林被染得五彩斑斓；冬天雾凇挂在枝头，洁白透亮，四季轮替下来，就像一幅活灵活现的山水卷。

三清山最特别的地方，在于自然和人文能融合得很好，恰好对应了道教“三清”的核心理念。早在晋代，葛洪就曾在这里筑庐炼丹，之后历代的道教活动慢慢造就了以三清宫为核心的古建筑群。这些建筑没按常规的中轴对称来建，而是顺着八卦方位，悄悄藏在山水之间，把“道法自然”的想法体现得淋漓尽致。加上文人墨客留下的题咏，还有民间一直流传的神话传说，三清山早就不只是一座单纯的山了，它成了人们寄托隐逸理想、安放审美追求和精神信仰的文化圣山，也藏着中国的自然哲学、宗教思想和艺术美学。

====建筑特点：“道法自然”的哲学思想====

三清山的建筑，把道教“天人合一”的理念落实得很好。核心就是敬畏自然，富含哲理，不刻意去追求多大的规模、多华丽的装饰。山腰上的三清宫古建筑群最有代表性，它的布局跳出了传统的中轴对称，顺着山势、按八卦方位来建，把“人法地，地法天，天法道，道法自然”的思想融在了建筑里。主殿用的是石木材料，透着古朴的质感，颜色和周围的青松、褐石很协调，刚好契合了道教“见素抱朴”“大智若愚”的审美。

这些建筑的选址和用途都藏着深意。紧邻悬崖的“风雷塔”看着不大，其实是用来守护风水、镇压邪祟的祭祀平台，精神上的意义远比实际用途重要。山里到处能见到炼丹井、飞仙台这类遗迹，把“升仙”这种虚无缥缈的想法，变成了能亲眼看到、摸到的场景。三清山的建筑都带着“隐逸”的感觉，不靠着征服自然来彰显人的本事，而是领着人们去体会山的规律，慢慢实现精神上的升华。

====山水意象：如梦似幻的“人间仙境”====

三清山的景观艺术，把中国古典美学的“外师造化，中得心源”表现得很生动。这里的自然景色不只是地理上的景物，经过大自然千百年的锻造锤炼，有了更深层的韵味。它的构思核心就是打造“仙山”的感觉 —— 三座高耸的山峰，刚好对应道教里的最高神祇“三清”，整座山就像一个缩小版的宇宙。翻涌的云海不只是天气现象，被人们解读成隔绝尘世的“太虚之境”，也是滋养万物的“天地元气”，充满了“仙境”那种空灵又神秘的氛围。

这种艺术感也体现在“入山水画”的体验里。造型奇特的花岗岩山峰，配上翠绿繁茂的古松，正符合中国山水画的构图美感。行人在山间走，就像一步步走进了水墨长卷，从远远看着画，变成了画里的一部分。它深层的艺术内涵，其实是“澄心悟道”的体验 —— 清泉潺潺，松涛阵阵，这些“自然之声”能洗去一身的世俗烦恼。视觉和听觉凑在一起的安静环境，能让人不只是停留在看风景的表面，慢慢达到道家追求的精神澄澈，让这趟自然之旅多了些值得琢磨的哲学味道。

====神话传说：烟火气的地方叙事====

三清山的神话传说深深扎在本土化叙事之中。人们给没感情的山水赋予人的性格、编上故事，让自然空间变成了有温度的文化圣地。这些传说的精妙之处在于，让那些奇奇怪怪的自然景观变得好懂、好亲近。比如面对“司春女神”峰，先民就借着西王母的神话来解读，把冰冷的花岗岩变成了掌管繁衍的神祇，原本让人敬畏的奇景，一下子就亲切了：“巨蟒出山”的传说常带着警示意味，给冷冰冰的巨石添了点教化的温度。以葛洪炼丹为代表的道教传说，把宽泛的道教信仰落到了具体的洞穴上，也提高了这座山在正统宗教里的地位；而“狐狸啃鸡”这类民间故事，更贴近普通人的生活，藏着朴素的善恶有报观念，反映了大家心里的价值取向。

这些交口相传历久弥新的一段段故事，让三清山的一草一木都成了藏着文化记忆的符号。传说不只是用来解释地貌的，更是当地人建立文化认同、传递价值观的载体，人们在山里走，脚下踩的不只是石头泥土，更是一张由神话织成的、关乎天地人神的精神载体。

====隐逸风尚：“不问世事”的精神寄托====

三清山的隐逸文化，其实就是中国传统士人“达则兼济天下，穷则独善其身”的一种实践。它不是消极逃避现实，而是主动到自然里找精神上的独立。这座山的吸引力核心，就在于能提供安静的居所和净化心灵的环境 —— 崎岖的地形，缭绕的云雾，天然就形成了一道和世俗隔开的屏障，给隐者提供了身体和心理上的双重保护。山里的清泉、古松、幽谷凑在一起的景象，被认为是洗去官场烦恼、找回本心的理想地方。

这种文化有很明确的实践方向。以葛洪为代表的道教信徒，把山林当成炼丹养生的地方，想实现身体和精神的双重提升；受道教影响的文人来这里隐居，比如朱熹就曾在这里讲学，他们更看重把山水当成读书、思考的静修地，在自然里陶冶情操、琢磨道理。三清山的隐逸传统，本质上是把自然空间变成了自由之地，让士人们在政治失意或者时代动荡的时候，能在这里安身，从追名逐利的世俗人，变回亲近自然的本真之人。这也让三清山成了承载中国士人进退智慧、独立人格理想的文化地标。

====现代文创：文化意象的重构创新====

三清山的现代人文风貌，核心是对传统意象的创新和重构。文化实践早就从古人的修身悟道，变成了今人的体验和游乐。现代的空间设计、旅游规划，常常会借用传统意象：高空栈道被叫做“阳光海岸，名字和走起来的路径，都特意营造出在仙境云海中漫步的感觉；景观解说系统会把神话和道教故事重新讲一遍，让自然奇观变成有情节、好理解的文化场景。

隐逸文化也被做成了大众化的精神疗愈产品 —— 山里的精品民宿常叫“归隐”“问道”这类名字，提供短暂的“不问俗事”的体验；“三清山雪糕”“女神峰折扇”这些文创产品，把山水意象变成了能带走的消费符号；短视频更是把它“人间仙境”的样子放大了。这既反映了消费时代对古典意象的筛选、简化和重新包装，也给传统文化的当代传播带来了新的机遇。

====总结====

建筑是哲学思想的具体表达，山水是心灵世界的映照，传说是集体记忆的梦境，隐逸是士人的人生选择，文创是传统元素的当代再生。三清山的文化深度，就在于它能让不同时代、不同身份的人，从山石云雾里读出自己所需的精神追求与感受 —— 这正是中国文化“和而不同”的精神，在山岳景观里的极致体现。

===参考文献===

[1]陈斯伟. 大美三清山[J]. 环境经济, 2021, (02): 50-51.

[2]黄和平, 王智鹏, 林文凯. 风景名胜区旅游资源价值损害评估——以三清山巨蟒峰为例[J]. 旅游学刊, 2020, 35(09): 26-40.

[3]黄建军. 三清山: 秀中藏秀,奇中出奇[J]. 江西电力, 2021, 45(07): 57.

[4]李建立. 三清山美景[J]. 宏观经济研究, 2015, (09): 2.

[5]李忠东. 峰林的家乡松石的画廊——三清山世界地质公园探秘(上)[J] .资源与人居环境, 2018, (01): 28-33.

[6]刘春燕, 毛建华, 叶民盛. 三清山道教文化旅游资源开发研究[J]. 江西社会科学, 2003, (04): 229-230.

[7]刘佩芝. 试论三清山申报世界遗产的优势[J]. 上饶师范学院学报, 2007, (05): 29-33.

[8]汪源林, 李小龙, 刘纯青. 三清山世界自然遗产地的可持续发展[J]. 中国园林, 2014, 30(11): 85-87.

[9]薛花, 周堃. 三清山遗产资源评价及保护研究[J]. 安徽农业科学, 2016, 44(09): 206-209.

[10]杨敏, 李芳媛. 文旅融合视角下的名山旅游品牌提升研究——以江西四大名山为例[J] .低碳世界, 2019, 9(10): 274-275.

[11]袁晶, 陈凡. 浅谈三清山风景区摩崖石刻造像艺术美学意蕴[J]. 大众文艺, 2018, (16): 66-67.

[12]百度百科

[13]China discovery网站

[14]三清山官网

===术语===

八卦The Eight Trigrams

三清宫Sanqing Temple

风雷塔Fenglei Pagoda

炼丹井elixir refining wells

飞仙台 Feixian Platform

东方女神Oriental Godness

巨蟒出山Giant Boa

司春女神Sichun Godness

狐狸啃鸡Fox Eating Chicken

葛洪炼丹Ge Hong refining elixirs

羽化登仙ascend to immortality

太虚之境the realm of Great Emptiness

天地元气Fundamental Qi

澄心悟道purify the mind to attain enlightenment

善恶报应What goes around comes around.

道法自然Dao operates naturally.

天人合一harmony between man and nature

见素抱朴maintain originality and embrace simplicity

大智若愚still water runs deep

和而不同Harmony with Uniformity

外师造化，中得心源Draw artistic inspiration from both within and without.

人法地，地法天，天法道，道法自然Man’s law is earthly, earth’s law is natural, and heaven’s law is Dao.

达则兼济天下，穷则独善其身In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven.

===问题===

1.三清山名字由何而来？

2.三清山有哪些景点？

3.三清山与哪个宗教联系紧密？

4.司春女神峰以哪个人物故事为背景？

5.为什么三清山是古时文人隐居之地？

===答案===

1.因玉京、玉虚、玉华三峰对应道教“三清”尊神而得名。

2. 与道教关系最为紧密，是道家“洞天福地”和自然哲学的实践典范。

3. 以神话中西王母之女瑶姬的故事为背景，象征生机。

4. 其险峻地理与道教氛围为文人提供了远离尘俗的精神净土。

5. 司春女神峰、巨蟒出山、三清宫、玉京峰及西海岸高空栈道等。

Uvu/index.php/User:Zhang Meirong

2025-12-29T14:18:07Z

Zhang Minjie:

==Final Exam Paper==

===Mount Sanqing===

==== Introduction====

Mount Sanqing is located in the northeastern part of Shangrao City, Jiangxi Province, standing the junction of Yushan County and Dexing City. As both a World Natural Heritage and a Global Geopark, its core landscapes include not only extensive granite peak forests but also vivid iconic scenes such as “Oriental Godness(东方女神)” and “Giant Boa(巨蟒出山)’. Through thousands of years of erosion, the landforms here have been diverse, with well-preserved ecology. Vegetation distributes vertically along the mountain, sloping in distinct layers, and numerous rare animals and plants inhabit the area. In spring, the mountains are covered with azaleas; in summer, clouds and mist surge in the valleys; in autumn, the entire mountains and forests turns colorful; in winter, rime hangs on the branches, pure and translucent. With the change of seasons, it resembles a vivid landscape scroll.

The most distinctive feature of Mount Sanqing lies in the integration of nature and humanity, which exactly corresponds to the core concept of “Sanqing(三清)” in Taoism. As early as the Jin Dynasty, Ge Hong(葛洪) built a hut here to refine elixirs(炼制丹药). Subsequent Taoist activities in successive dynasties gradually formed an architectural complex centered on the Sanqing Temple(三清宫). Unlike traditional buildings arranged in a central axis symmetry, these structures are constructed according to the Eight Trigrams orientation(八卦方位), quietly exiting among the mountains and rivers, fully embodying the idea of “Dao operates naturally(道法自然)”. Coupled with inscriptions and poems left by literati and scholars, as well as legends circulating among the people, Mount Sanqing is no longer merely a mountain. It has become a cultural sacred mountain where people place their hermitic ideals, aesthetic pursuits, and spiritual beliefs, embodying China’s natural philosophy, religious thoughts, and artistic aesthetics.

====Architectural Characteristics: The Philosophical Thought of “Dao Operates Naturally”====

The architecture of Mount Sanqing fully implements the Taoist concept of “harmony between man and nature(天人合一)”. Its core lies in reverence for nature and rich philosophical connotations, and it doesn't deliberately pursues large scale or gorgeous decorations. The ancient architectural complex of Sanqing Temple on the mountainside is the most representative. Its layout breaks away from the traditional central axis symmetry and is constructed along the mountain terrain and according to the Eight Trigrams orientation(八卦方位), integrating the thought of “Man’s law is earthly, earth’s law is heavenly, heaven’s law is Dao, and Dao operates naturally(人法地，地法天，天法道，道法自然)” into the architecture. The main hall adopts stone and wood materials, exuding a simple and unsophisticated texture. Its color coordinates with the surrounding green pines and brown stones, perfectly aligning with the Taoist aesthetics of “maintain originality and embrace simplicity(见素抱朴)” and “still water runs deep(大智若愚)”.

The location and function of these buildings are deeply meaningful. The Fenglei Pagoda(风雷塔)”adjacent to the cliff is small in size but actually serves as a ritual platform to guard geomancy and suppress evil spirits, with spiritual significance far exceeding its practical use. Relics such as elixir refining wells(炼丹井) and Feixian Platform (飞仙台) can be found everywhere in the mountains, transforming the illusory idea of “ascending to immortality” into tangible scenes that can be seen and touched. The architecture of Mount Sanqing all carries a sense of “hermitage”. Instead of demonstrating human power through conquering nature, it guides people to understand the laws of the mountain and gradually achieve spiritual sublimation.

====Landscape Imagery: A Dreamlike “Fairyland on Earth”====

The landscape of Mount Sanqing vividly reflects the Chinese classical aesthetic of “Draw artistic inspiration from both within and without(外师造化，中得心源)”. The natural scenery here is not merely geographical features; after thousands of years of forging by nature, it has gained deeper connotations. The core of its conception is to create a sense of “fairy mountain” — the three towering peaks correspond exactly to the “Sanqing(三清)”, the highest deities in Taoism, making the entire mountain resemble a miniature universe. The surging sea of clouds is not just a weather phenomenon but is interpreted as the “realm of Great Emptiness(太虚之境)” isolated from the mortal world and the “Fundamental Qi(天地元气)” that nurtures all things, filled with the ethereal and mysterious atmosphere of a “fairyland”.

This artistic sense is also reflected in the experience of “stepping into a landscape painting”. The uniquely shaped granite peaks, combined with lush ancient pines, conform to the beauty of Chinese landscape paintings. When pedestrians walk in the mountains, they feel as if they are stepping into a long ink wash scroll, transforming from viewers of the painting to parts of it. Its profound artistic connotation lies in the experience of “purify the mind to attain enlightenment(澄心悟道)”— the gurgling springs and rustling pines, these “natural sounds”, can wash away the mundane troubles. The quiet environment combining vision and hearing allows people to go beyond the surface of viewing scenery and gradually achieve the spiritual purity pursued by Taoism, adding a philosophical flavor to this natural journey.

====Mythological Legends: Local Narratives from Human Life====

The mythological legends of Mount Sanqing are deeply rooted in local narratives. People endow inanimate mountains and rivers with human personalities, weaving stories around them and turning natural spaces into warm cultural places. The ingenuity of these legends lies in making those cold landscapes understandable and approachable. For example, facing the Sichun Goddess Peak (司春女神峰), the ancestors interpreted it through the myth of the Queen Mother of the West(西王母), transforming the granite into a deity in charge of life, making the originally awe-inspiring space instantly intimate. The legend of “Giant Boa Emerging from the Mountain(巨蟒出山)” often carries a warning meaning, adding an educational meaning to the cold boulder. Taoist legends represented by Ge Hong refining elixirs(葛洪炼丹) have rooted the broad Taoist beliefs in specific caves and enhanced the mountain’s status in orthodox religion. Folk stories such as “Fox Eating Chicken(狐狸啃鸡)” are closer to ordinary people’s lives, embodying simple concepts of ‘what goes around comes around(善有善报，恶有恶报)” and reflecting the values in people’s hearts.

These widely circulated and time-honored stories have turned every tree and grass on Mount Sanqing into symbols of cultural memory. Legends not only explain landforms but also serve as carriers for local people to establish cultural identity and pass on values. When people walk in the mountains, they step not only on stones and soil but also on a spiritual carrier woven by myths, relating heaven, earth, humans, and gods.

====Hermitic Fashion: A Spiritual Haven of “Detachment from Worldly Affairs”====

The hermitic culture of Mount Sanqing is an embodiment of the traditional Chinese scholar-official concept of “In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven达则兼济天下，穷则独善其身)”. It is not a passive escape from reality but an active pursuit of spiritual independence in nature. The core appeal of this mountain lies in providing a quiet residence and an environment for spiritual purification — the rugged terrain and lingering clouds naturally form a barrier separated from the mundane world, offering both physical and psychological protection for hermits. The combination of clear water, ancient pines, and secluded valleys in the mountains is regarded as an ideal place to wash away troubles and regain one’s original aspirations.

This culture has clear practical directions. Taoist believers represented by Ge Hong regard the mountains and forests as places for refining elixirs and maintaining health, aiming to achieve both physical and spiritual improvement. Literati influenced by Taoism come here to live in seclusion; for example, Zhu Xi(朱熹) once gave lectures here. They attach more importance to using mountains and rivers as quiet places for reading and thinking, cultivating their sentiments in nature. The hermitic tradition of Mount Sanqing essentially transforms natural space into a land of freedom, allowing scholars to take refuge here during political setbacks or turbulent times, transforming people from mundane ones pursuing fame and fortune to their true selves close to nature. This has also made Mount Sanqing a cultural landmark carrying the wisdom of advance and retreat and the ideal of independent personality of Chinese scholars.

====Modern Cultural and Creative Industries: Reconstruction and Innovation of Cultural Imagery====

The modern humanistic style of Mount Sanqing focuses on the innovation and reconstruction of traditional imagery. Cultural practices have long evolved from ancient self-cultivation and enlightenment to modern experience and recreation. Modern space design and tourism planning often draw on traditional imagery: the high-altitude plank road is named “Sunshine Coast(阳光海岸”, and both its name and walking path are deliberately designed to create a feeling of wandering in the sea of clouds in a fairyland; the landscape interpretation system retells myths and Taoist stories, turning natural wonders into cultural scenes with short stories.

Hermitic culture has also been developed into popular spiritual healing products — high-end hotels in the mountains are often named “Guiyin(归隐)” or “Wendao(问道)”, offering a short-term experience of “detachment from worldly affairs”; cultural and creative products such as “Mount Sanqing Ice Cream” and “Goddess Peak Folding Fan(女神峰折扇)” transform landscape imagery into portable consumption symbols; short videos have further amplified its image of a “fairyland on earth”. This not only reflects the shift, simplification, and repackaging of classical imagery in the consumer era but also brings new opportunities for the contemporary communication of traditional culture.

====Summary====

Architecture is the concrete expression of philosophical thoughts, landscapes are the reflection of the spiritual world, legends are the dreams of collective memory, hermitage is the life choice of scholars, and cultural and creative industries are the contemporary regeneration of traditional elements. The cultural depth of Mount Sanqing lies in its ability to allow people of different eras and identities to perceive the spiritual pursuits and feelings they need from the rocks, mountains, clouds, and mist — this is exactly the ultimate embodiment of the Chinese cultural spirit of “Harmony with uniformity(和而不同)” in mountain landscapes.

===References===

[1]陈斯伟. 大美三清山[J]. 环境经济, 2021, (02): 50-51.
[2]黄和平, 王智鹏, 林文凯. 风景名胜区旅游资源价值损害评估——以三清山巨蟒峰为例[J]. 旅游学刊, 2020, 35(09): 26-40.
[3]黄建军. 三清山: 秀中藏秀,奇中出奇[J]. 江西电力, 2021, 45(07): 57.
[4]李建立. 三清山美景[J]. 宏观经济研究, 2015, (09): 2.
[5]李忠东. 峰林的家乡松石的画廊——三清山世界地质公园探秘(上)[J] .资源与人居环境, 2018, (01): 28-33.
[6]刘春燕, 毛建华, 叶民盛. 三清山道教文化旅游资源开发研究[J]. 江西社会科学, 2003, (04): 229-230.
[7]刘佩芝. 试论三清山申报世界遗产的优势[J]. 上饶师范学院学报, 2007, (05): 29-33.
[8]汪源林, 李小龙, 刘纯青. 三清山世界自然遗产地的可持续发展[J]. 中国园林, 2014, 30(11): 85-87.
[9]薛花, 周堃. 三清山遗产资源评价及保护研究[J]. 安徽农业科学, 2016, 44(09): 206-209.
[10]杨敏, 李芳媛. 文旅融合视角下的名山旅游品牌提升研究——以江西四大名山为例[J] .低碳世界, 2019, 9(10): 274-275.
[11]袁晶, 陈凡. 浅谈三清山风景区摩崖石刻造像艺术美学意蕴[J]. 大众文艺, 2018, (16): 66-67.
[12]百度百科
[13]China discovery网站
[14]三清山官网

===Terms===

八卦The Eight Trigrams
三清宫Sanqing Temple
风雷塔Fenglei Pagoda
炼丹井elixir refining wells
飞仙台 Feixian Platform
东方女神Oriental Godness
巨蟒出山Giant Boa
司春女神Sichun Godness
狐狸啃鸡Fox Eating Chicken
葛洪炼丹Ge Hong refining elixirs
羽化登仙ascend to immortality
太虚之境the realm of Great Emptiness
天地元气Fundamental Qi
澄心悟道purify the mind to attain enlightenment
善恶报应What goes around comes around.
道法自然Dao operates naturally.
天人合一harmony between man and nature
见素抱朴maintain originality and embrace simplicity
大智若愚still water runs deep
和而不同Harmony with Uniformity
外师造化，中得心源Draw artistic inspiration from both within and without.
人法地，地法天，天法道，道法自然Man’s law is earthly, earth’s law is natural, and heaven’s law is Dao.
达则兼济天下，穷则独善其身In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven.

===Questions===

1. How did Mount Sanqing get its name?
2. What scenic spots does Mount Sanqing have?
3. Which religion is closely associated with Mount Sanqing?
4. which character’s story is the Sichun Goddess Peak based on?
5. Why was Mount Sanqing a place for literati to live in seclusion in ancient times?

===Answers===

1. It gets its name because the three peaks of Yujing, Yuxu, and Yuhua correspond to the “Sanqing” (the highest deities) in Taoism.
2. Key scenic spots include the Sichun Goddess Peak, Giant Boa Emerging from the Mountain, Sanqing Temple, Yujing Peak, and the West Coast High-Altitude Plank Road, and so on.
3. It is most closely associated with Taoism, serving as a Taoist blessed land and a practical model of natural philosophy.
4. It is based on the myth of the Queen Mother of the West, symbolizing vitality.
5. Its dangerous geography and Taoist atmosphere provided literati with a spiritual pure land away from the mundane world.

==期末考试论文==

===三清山===

====介绍====

三清山在江西省上饶市东北部，正好坐落在玉山县和德兴市的交界处。它既是世界自然遗产，也是世界地质公园，核心景观除了成片的花岗岩峰林，还有“东方女神”“蟒蛇出山”这类很有画面感的象形景观。经过千百年的风化侵蚀，这里的地貌变得丰富多样，生态保护得很好，植被顺着山势垂直分布，层次分明，还生活着不少珍稀的动植物。春天一到，山间满是杜鹃花；夏天云雾在山谷里翻涌；秋天整座山林被染得五彩斑斓；冬天雾凇挂在枝头，洁白透亮，四季轮替下来，就像一幅活灵活现的山水卷。

三清山最特别的地方，在于自然和人文能融合得很好，恰好对应了道教“三清”的核心理念。早在晋代，葛洪就曾在这里筑庐炼丹，之后历代的道教活动慢慢造就了以三清宫为核心的古建筑群。这些建筑没按常规的中轴对称来建，而是顺着八卦方位，悄悄藏在山水之间，把“道法自然”的想法体现得淋漓尽致。加上文人墨客留下的题咏，还有民间一直流传的神话传说，三清山早就不只是一座单纯的山了，它成了人们寄托隐逸理想、安放审美追求和精神信仰的文化圣山，也藏着中国的自然哲学、宗教思想和艺术美学。

====建筑特点：“道法自然”的哲学思想====

三清山的建筑，把道教“天人合一”的理念落实得很好。核心就是敬畏自然，富含哲理，不刻意去追求多大的规模、多华丽的装饰。山腰上的三清宫古建筑群最有代表性，它的布局跳出了传统的中轴对称，顺着山势、按八卦方位来建，把“人法地，地法天，天法道，道法自然”的思想融在了建筑里。主殿用的是石木材料，透着古朴的质感，颜色和周围的青松、褐石很协调，刚好契合了道教“见素抱朴”“大智若愚”的审美。

这些建筑的选址和用途都藏着深意。紧邻悬崖的“风雷塔”看着不大，其实是用来守护风水、镇压邪祟的祭祀平台，精神上的意义远比实际用途重要。山里到处能见到炼丹井、飞仙台这类遗迹，把“升仙”这种虚无缥缈的想法，变成了能亲眼看到、摸到的场景。三清山的建筑都带着“隐逸”的感觉，不靠着征服自然来彰显人的本事，而是领着人们去体会山的规律，慢慢实现精神上的升华。

====山水意象：如梦似幻的“人间仙境”====

三清山的景观艺术，把中国古典美学的“外师造化，中得心源”表现得很生动。这里的自然景色不只是地理上的景物，经过大自然千百年的锻造锤炼，有了更深层的韵味。它的构思核心就是打造“仙山”的感觉 —— 三座高耸的山峰，刚好对应道教里的最高神祇“三清”，整座山就像一个缩小版的宇宙。翻涌的云海不只是天气现象，被人们解读成隔绝尘世的“太虚之境”，也是滋养万物的“天地元气”，充满了“仙境”那种空灵又神秘的氛围。

这种艺术感也体现在“入山水画”的体验里。造型奇特的花岗岩山峰，配上翠绿繁茂的古松，正符合中国山水画的构图美感。行人在山间走，就像一步步走进了水墨长卷，从远远看着画，变成了画里的一部分。它深层的艺术内涵，其实是“澄心悟道”的体验 —— 清泉潺潺，松涛阵阵，这些“自然之声”能洗去一身的世俗烦恼。视觉和听觉凑在一起的安静环境，能让人不只是停留在看风景的表面，慢慢达到道家追求的精神澄澈，让这趟自然之旅多了些值得琢磨的哲学味道。

====神话传说：烟火气的地方叙事====

三清山的神话传说深深扎在本土化叙事之中。人们给没感情的山水赋予人的性格、编上故事，让自然空间变成了有温度的文化圣地。这些传说的精妙之处在于，让那些奇奇怪怪的自然景观变得好懂、好亲近。比如面对“司春女神”峰，先民就借着西王母的神话来解读，把冰冷的花岗岩变成了掌管繁衍的神祇，原本让人敬畏的奇景，一下子就亲切了：“巨蟒出山”的传说常带着警示意味，给冷冰冰的巨石添了点教化的温度。以葛洪炼丹为代表的道教传说，把宽泛的道教信仰落到了具体的洞穴上，也提高了这座山在正统宗教里的地位；而“狐狸啃鸡”这类民间故事，更贴近普通人的生活，藏着朴素的善恶有报观念，反映了大家心里的价值取向。

这些交口相传历久弥新的一段段故事，让三清山的一草一木都成了藏着文化记忆的符号。传说不只是用来解释地貌的，更是当地人建立文化认同、传递价值观的载体，人们在山里走，脚下踩的不只是石头泥土，更是一张由神话织成的、关乎天地人神的精神载体。

====隐逸风尚：“不问世事”的精神寄托====

三清山的隐逸文化，其实就是中国传统士人“达则兼济天下，穷则独善其身”的一种实践。它不是消极逃避现实，而是主动到自然里找精神上的独立。这座山的吸引力核心，就在于能提供安静的居所和净化心灵的环境 —— 崎岖的地形，缭绕的云雾，天然就形成了一道和世俗隔开的屏障，给隐者提供了身体和心理上的双重保护。山里的清泉、古松、幽谷凑在一起的景象，被认为是洗去官场烦恼、找回本心的理想地方。

这种文化有很明确的实践方向。以葛洪为代表的道教信徒，把山林当成炼丹养生的地方，想实现身体和精神的双重提升；受道教影响的文人来这里隐居，比如朱熹就曾在这里讲学，他们更看重把山水当成读书、思考的静修地，在自然里陶冶情操、琢磨道理。三清山的隐逸传统，本质上是把自然空间变成了自由之地，让士人们在政治失意或者时代动荡的时候，能在这里安身，从追名逐利的世俗人，变回亲近自然的本真之人。这也让三清山成了承载中国士人进退智慧、独立人格理想的文化地标。

====现代文创：文化意象的重构创新====

三清山的现代人文风貌，核心是对传统意象的创新和重构。文化实践早就从古人的修身悟道，变成了今人的体验和游乐。现代的空间设计、旅游规划，常常会借用传统意象：高空栈道被叫做“阳光海岸，名字和走起来的路径，都特意营造出在仙境云海中漫步的感觉；景观解说系统会把神话和道教故事重新讲一遍，让自然奇观变成有情节、好理解的文化场景。

隐逸文化也被做成了大众化的精神疗愈产品 —— 山里的精品民宿常叫“归隐”“问道”这类名字，提供短暂的“不问俗事”的体验；“三清山雪糕”“女神峰折扇”这些文创产品，把山水意象变成了能带走的消费符号；短视频更是把它“人间仙境”的样子放大了。这既反映了消费时代对古典意象的筛选、简化和重新包装，也给传统文化的当代传播带来了新的机遇。

====总结====

建筑是哲学思想的具体表达，山水是心灵世界的映照，传说是集体记忆的梦境，隐逸是士人的人生选择，文创是传统元素的当代再生。三清山的文化深度，就在于它能让不同时代、不同身份的人，从山石云雾里读出自己所需的精神追求与感受 —— 这正是中国文化“和而不同”的精神，在山岳景观里的极致体现。

===参考文献===

[1]陈斯伟. 大美三清山[J]. 环境经济, 2021, (02): 50-51.
[2]黄和平, 王智鹏, 林文凯. 风景名胜区旅游资源价值损害评估——以三清山巨蟒峰为例[J]. 旅游学刊, 2020, 35(09): 26-40.
[3]黄建军. 三清山: 秀中藏秀,奇中出奇[J]. 江西电力, 2021, 45(07): 57.
[4]李建立. 三清山美景[J]. 宏观经济研究, 2015, (09): 2.
[5]李忠东. 峰林的家乡松石的画廊——三清山世界地质公园探秘(上)[J] .资源与人居环境, 2018, (01): 28-33.
[6]刘春燕, 毛建华, 叶民盛. 三清山道教文化旅游资源开发研究[J]. 江西社会科学, 2003, (04): 229-230.
[7]刘佩芝. 试论三清山申报世界遗产的优势[J]. 上饶师范学院学报, 2007, (05): 29-33.
[8]汪源林, 李小龙, 刘纯青. 三清山世界自然遗产地的可持续发展[J]. 中国园林, 2014, 30(11): 85-87.
[9]薛花, 周堃. 三清山遗产资源评价及保护研究[J]. 安徽农业科学, 2016, 44(09): 206-209.
[10]杨敏, 李芳媛. 文旅融合视角下的名山旅游品牌提升研究——以江西四大名山为例[J] .低碳世界, 2019, 9(10): 274-275.
[11]袁晶, 陈凡. 浅谈三清山风景区摩崖石刻造像艺术美学意蕴[J]. 大众文艺, 2018, (16): 66-67.
[12]百度百科
[13]China discovery网站
[14]三清山官网

===术语===

八卦The Eight Trigrams
三清宫Sanqing Temple
风雷塔Fenglei Pagoda
炼丹井elixir refining wells
飞仙台 Feixian Platform
东方女神Oriental Godness
巨蟒出山Giant Boa
司春女神Sichun Godness
狐狸啃鸡Fox Eating Chicken
葛洪炼丹Ge Hong refining elixirs
羽化登仙ascend to immortality
太虚之境the realm of Great Emptiness
天地元气Fundamental Qi
澄心悟道purify the mind to attain enlightenment
善恶报应What goes around comes around.
道法自然Dao operates naturally.
天人合一harmony between man and nature
见素抱朴maintain originality and embrace simplicity
大智若愚still water runs deep
和而不同Harmony with Uniformity
外师造化，中得心源Draw artistic inspiration from both within and without.
人法地，地法天，天法道，道法自然Man’s law is earthly, earth’s law is natural, and heaven’s law is Dao.
达则兼济天下，穷则独善其身In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven.

===问题===

1.三清山名字由何而来？
2.三清山有哪些景点？
3.三清山与哪个宗教联系紧密？
4.司春女神峰以哪个人物故事为背景？
5.为什么三清山是古时文人隐居之地？

===答案===

1.因玉京、玉虚、玉华三峰对应道教“三清”尊神而得名。
2. 与道教关系最为紧密，是道家“洞天福地”和自然哲学的实践典范。
3. 以神话中西王母之女瑶姬的故事为背景，象征生机。
4. 其险峻地理与道教氛围为文人提供了远离尘俗的精神净土。
5. 司春女神峰、巨蟒出山、三清宫、玉京峰及西海岸高空栈道等。

Uvu/index.php/User:Zhang Meirong

2025-12-29T14:16:04Z

Zhang Minjie:

==Final Exam Paper==

===Mount Sanqing===

==== Introduction====

Mount Sanqing is located in the northeastern part of Shangrao City, Jiangxi Province, standing the junction of Yushan County and Dexing City. As both a World Natural Heritage and a Global Geopark, its core landscapes include not only extensive granite peak forests but also vivid iconic scenes such as “Oriental Godness(东方女神)” and “Giant Boa(巨蟒出山)’. Through thousands of years of erosion, the landforms here have been diverse, with well-preserved ecology. Vegetation distributes vertically along the mountain, sloping in distinct layers, and numerous rare animals and plants inhabit the area. In spring, the mountains are covered with azaleas; in summer, clouds and mist surge in the valleys; in autumn, the entire mountains and forests turns colorful; in winter, rime hangs on the branches, pure and translucent. With the change of seasons, it resembles a vivid landscape scroll.

The most distinctive feature of Mount Sanqing lies in the integration of nature and humanity, which exactly corresponds to the core concept of “Sanqing(三清)” in Taoism. As early as the Jin Dynasty, Ge Hong(葛洪) built a hut here to refine elixirs(炼制丹药). Subsequent Taoist activities in successive dynasties gradually formed an architectural complex centered on the Sanqing Temple(三清宫). Unlike traditional buildings arranged in a central axis symmetry, these structures are constructed according to the Eight Trigrams orientation(八卦方位), quietly exiting among the mountains and rivers, fully embodying the idea of “Dao operates naturally(道法自然)”. Coupled with inscriptions and poems left by literati and scholars, as well as legends circulating among the people, Mount Sanqing is no longer merely a mountain. It has become a cultural sacred mountain where people place their hermitic ideals, aesthetic pursuits, and spiritual beliefs, embodying China’s natural philosophy, religious thoughts, and artistic aesthetics.

====Architectural Characteristics: The Philosophical Thought of “Dao Operates Naturally”====

The architecture of Mount Sanqing fully implements the Taoist concept of “harmony between man and nature(天人合一)”. Its core lies in reverence for nature and rich philosophical connotations, and it doesn't deliberately pursues large scale or gorgeous decorations. The ancient architectural complex of Sanqing Temple on the mountainside is the most representative. Its layout breaks away from the traditional central axis symmetry and is constructed along the mountain terrain and according to the Eight Trigrams orientation(八卦方位), integrating the thought of “Man’s law is earthly, earth’s law is heavenly, heaven’s law is Dao, and Dao operates naturally(人法地，地法天，天法道，道法自然)” into the architecture. The main hall adopts stone and wood materials, exuding a simple and unsophisticated texture. Its color coordinates with the surrounding green pines and brown stones, perfectly aligning with the Taoist aesthetics of “maintain originality and embrace simplicity(见素抱朴)” and “still water runs deep(大智若愚)”.

The location and function of these buildings are deeply meaningful. The Fenglei Pagoda(风雷塔)”adjacent to the cliff is small in size but actually serves as a ritual platform to guard geomancy and suppress evil spirits, with spiritual significance far exceeding its practical use. Relics such as elixir refining wells(炼丹井) and Feixian Platform (飞仙台) can be found everywhere in the mountains, transforming the illusory idea of “ascending to immortality” into tangible scenes that can be seen and touched. The architecture of Mount Sanqing all carries a sense of “hermitage”. Instead of demonstrating human power through conquering nature, it guides people to understand the laws of the mountain and gradually achieve spiritual sublimation.

====Landscape Imagery: A Dreamlike “Fairyland on Earth”====

The landscape of Mount Sanqing vividly reflects the Chinese classical aesthetic of “Draw artistic inspiration from both within and without(外师造化，中得心源)”. The natural scenery here is not merely geographical features; after thousands of years of forging by nature, it has gained deeper connotations. The core of its conception is to create a sense of “fairy mountain” — the three towering peaks correspond exactly to the “Sanqing(三清)”, the highest deities in Taoism, making the entire mountain resemble a miniature universe. The surging sea of clouds is not just a weather phenomenon but is interpreted as the “realm of Great Emptiness(太虚之境)” isolated from the mortal world and the “Fundamental Qi(天地元气)” that nurtures all things, filled with the ethereal and mysterious atmosphere of a “fairyland”.

This artistic sense is also reflected in the experience of “stepping into a landscape painting”. The uniquely shaped granite peaks, combined with lush ancient pines, conform to the beauty of Chinese landscape paintings. When pedestrians walk in the mountains, they feel as if they are stepping into a long ink wash scroll, transforming from viewers of the painting to parts of it. Its profound artistic connotation lies in the experience of “purify the mind to attain enlightenment(澄心悟道)”— the gurgling springs and rustling pines, these “natural sounds”, can wash away the mundane troubles. The quiet environment combining vision and hearing allows people to go beyond the surface of viewing scenery and gradually achieve the spiritual purity pursued by Taoism, adding a philosophical flavor to this natural journey.

====Mythological Legends: Local Narratives from Human Life====

The mythological legends of Mount Sanqing are deeply rooted in local narratives. People endow inanimate mountains and rivers with human personalities, weaving stories around them and turning natural spaces into warm cultural places. The ingenuity of these legends lies in making those cold landscapes understandable and approachable. For example, facing the Sichun Goddess Peak (司春女神峰), the ancestors interpreted it through the myth of the Queen Mother of the West(西王母), transforming the granite into a deity in charge of life, making the originally awe-inspiring space instantly intimate. The legend of “Giant Boa Emerging from the Mountain(巨蟒出山)” often carries a warning meaning, adding an educational meaning to the cold boulder. Taoist legends represented by Ge Hong refining elixirs(葛洪炼丹) have rooted the broad Taoist beliefs in specific caves and enhanced the mountain’s status in orthodox religion. Folk stories such as “Fox Eating Chicken(狐狸啃鸡)” are closer to ordinary people’s lives, embodying simple concepts of ‘what goes around comes around(善有善报，恶有恶报)” and reflecting the values in people’s hearts.

These widely circulated and time-honored stories have turned every tree and grass on Mount Sanqing into symbols of cultural memory. Legends not only explain landforms but also serve as carriers for local people to establish cultural identity and pass on values. When people walk in the mountains, they step not only on stones and soil but also on a spiritual carrier woven by myths, relating heaven, earth, humans, and gods.

====Hermitic Fashion: A Spiritual Haven of “Detachment from Worldly Affairs”====

The hermitic culture of Mount Sanqing is an embodiment of the traditional Chinese scholar-official concept of “In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven达则兼济天下，穷则独善其身)”. It is not a passive escape from reality but an active pursuit of spiritual independence in nature. The core appeal of this mountain lies in providing a quiet residence and an environment for spiritual purification — the rugged terrain and lingering clouds naturally form a barrier separated from the mundane world, offering both physical and psychological protection for hermits. The combination of clear water, ancient pines, and secluded valleys in the mountains is regarded as an ideal place to wash away troubles and regain one’s original aspirations.

This culture has clear practical directions. Taoist believers represented by Ge Hong regard the mountains and forests as places for refining elixirs and maintaining health, aiming to achieve both physical and spiritual improvement. Literati influenced by Taoism come here to live in seclusion; for example, Zhu Xi(朱熹) once gave lectures here. They attach more importance to using mountains and rivers as quiet places for reading and thinking, cultivating their sentiments in nature. The hermitic tradition of Mount Sanqing essentially transforms natural space into a land of freedom, allowing scholars to take refuge here during political setbacks or turbulent times, transforming people from mundane ones pursuing fame and fortune to their true selves close to nature. This has also made Mount Sanqing a cultural landmark carrying the wisdom of advance and retreat and the ideal of independent personality of Chinese scholars.

====Modern Cultural and Creative Industries: Reconstruction and Innovation of Cultural Imagery====

The modern humanistic style of Mount Sanqing focuses on the innovation and reconstruction of traditional imagery. Cultural practices have long evolved from ancient self-cultivation and enlightenment to modern experience and recreation. Modern space design and tourism planning often draw on traditional imagery: the high-altitude plank road is named “Sunshine Coast(阳光海岸”, and both its name and walking path are deliberately designed to create a feeling of wandering in the sea of clouds in a fairyland; the landscape interpretation system retells myths and Taoist stories, turning natural wonders into cultural scenes with short stories.

Hermitic culture has also been developed into popular spiritual healing products — high-end hotels in the mountains are often named “Guiyin(归隐)” or “Wendao(问道)”, offering a short-term experience of “detachment from worldly affairs”; cultural and creative products such as “Mount Sanqing Ice Cream” and “Goddess Peak Folding Fan(女神峰折扇)” transform landscape imagery into portable consumption symbols; short videos have further amplified its image of a “fairyland on earth”. This not only reflects the shift, simplification, and repackaging of classical imagery in the consumer era but also brings new opportunities for the contemporary communication of traditional culture.

====Summary====

Architecture is the concrete expression of philosophical thoughts, landscapes are the reflection of the spiritual world, legends are the dreams of collective memory, hermitage is the life choice of scholars, and cultural and creative industries are the contemporary regeneration of traditional elements. The cultural depth of Mount Sanqing lies in its ability to allow people of different eras and identities to perceive the spiritual pursuits and feelings they need from the rocks, mountains, clouds, and mist — this is exactly the ultimate embodiment of the Chinese cultural spirit of “Harmony with uniformity(和而不同)” in mountain landscapes.

===References===

[1]陈斯伟. 大美三清山[J]. 环境经济, 2021, (02): 50-51.
[2]黄和平, 王智鹏, 林文凯. 风景名胜区旅游资源价值损害评估——以三清山巨蟒峰为例[J]. 旅游学刊, 2020, 35(09): 26-40.
[3]黄建军. 三清山: 秀中藏秀,奇中出奇[J]. 江西电力, 2021, 45(07): 57.
[4]李建立. 三清山美景[J]. 宏观经济研究, 2015, (09): 2.
[5]李忠东. 峰林的家乡松石的画廊——三清山世界地质公园探秘(上)[J] .资源与人居环境, 2018, (01): 28-33.
[6]刘春燕, 毛建华, 叶民盛. 三清山道教文化旅游资源开发研究[J]. 江西社会科学, 2003, (04): 229-230.
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[10]杨敏, 李芳媛. 文旅融合视角下的名山旅游品牌提升研究——以江西四大名山为例[J] .低碳世界, 2019, 9(10): 274-275.
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[12]百度百科
[13]China discovery网站
[14]三清山官网

===Terms===

八卦The Eight Trigrams
三清宫Sanqing Temple
风雷塔Fenglei Pagoda
炼丹井elixir refining wells
飞仙台 Feixian Platform
东方女神Oriental Godness
巨蟒出山Giant Boa
司春女神Sichun Godness
狐狸啃鸡Fox Eating Chicken
葛洪炼丹Ge Hong refining elixirs
羽化登仙ascend to immortality
太虚之境the realm of Great Emptiness
天地元气Fundamental Qi
澄心悟道purify the mind to attain enlightenment
善恶报应What goes around comes around.
道法自然Dao operates naturally.
天人合一harmony between man and nature
见素抱朴maintain originality and embrace simplicity
大智若愚still water runs deep
和而不同Harmony with Uniformity
外师造化，中得心源Draw artistic inspiration from both within and without.
人法地，地法天，天法道，道法自然Man’s law is earthly, earth’s law is natural, and heaven’s law is Dao.
达则兼济天下，穷则独善其身In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven.

===Questions===

1. How did Mount Sanqing get its name?
2. What scenic spots does Mount Sanqing have?
3. Which religion is closely associated with Mount Sanqing?
4. which character’s story is the Sichun Goddess Peak based on?
5. Why was Mount Sanqing a place for literati to live in seclusion in ancient times?

===Answers===

1. It gets its name because the three peaks of Yujing, Yuxu, and Yuhua correspond to the “Sanqing” (the highest deities) in Taoism.
2. Key scenic spots include the Sichun Goddess Peak, Giant Boa Emerging from the Mountain, Sanqing Temple, Yujing Peak, and the West Coast High-Altitude Plank Road, and so on.
3. It is most closely associated with Taoism, serving as a Taoist blessed land and a practical model of natural philosophy.
4. It is based on the myth of the Queen Mother of the West, symbolizing vitality.
5. Its dangerous geography and Taoist atmosphere provided literati with a spiritual pure land away from the mundane world.

===三清山===

====介绍====

三清山在江西省上饶市东北部，正好坐落在玉山县和德兴市的交界处。它既是世界自然遗产，也是世界地质公园，核心景观除了成片的花岗岩峰林，还有“东方女神”“蟒蛇出山”这类很有画面感的象形景观。经过千百年的风化侵蚀，这里的地貌变得丰富多样，生态保护得很好，植被顺着山势垂直分布，层次分明，还生活着不少珍稀的动植物。春天一到，山间满是杜鹃花；夏天云雾在山谷里翻涌；秋天整座山林被染得五彩斑斓；冬天雾凇挂在枝头，洁白透亮，四季轮替下来，就像一幅活灵活现的山水卷。

三清山最特别的地方，在于自然和人文能融合得很好，恰好对应了道教“三清”的核心理念。早在晋代，葛洪就曾在这里筑庐炼丹，之后历代的道教活动慢慢造就了以三清宫为核心的古建筑群。这些建筑没按常规的中轴对称来建，而是顺着八卦方位，悄悄藏在山水之间，把“道法自然”的想法体现得淋漓尽致。加上文人墨客留下的题咏，还有民间一直流传的神话传说，三清山早就不只是一座单纯的山了，它成了人们寄托隐逸理想、安放审美追求和精神信仰的文化圣山，也藏着中国的自然哲学、宗教思想和艺术美学。

====建筑特点：“道法自然”的哲学思想====

三清山的建筑，把道教“天人合一”的理念落实得很好。核心就是敬畏自然，富含哲理，不刻意去追求多大的规模、多华丽的装饰。山腰上的三清宫古建筑群最有代表性，它的布局跳出了传统的中轴对称，顺着山势、按八卦方位来建，把“人法地，地法天，天法道，道法自然”的思想融在了建筑里。主殿用的是石木材料，透着古朴的质感，颜色和周围的青松、褐石很协调，刚好契合了道教“见素抱朴”“大智若愚”的审美。

这些建筑的选址和用途都藏着深意。紧邻悬崖的“风雷塔”看着不大，其实是用来守护风水、镇压邪祟的祭祀平台，精神上的意义远比实际用途重要。山里到处能见到炼丹井、飞仙台这类遗迹，把“升仙”这种虚无缥缈的想法，变成了能亲眼看到、摸到的场景。三清山的建筑都带着“隐逸”的感觉，不靠着征服自然来彰显人的本事，而是领着人们去体会山的规律，慢慢实现精神上的升华。

====山水意象：如梦似幻的“人间仙境”====

三清山的景观艺术，把中国古典美学的“外师造化，中得心源”表现得很生动。这里的自然景色不只是地理上的景物，经过大自然千百年的锻造锤炼，有了更深层的韵味。它的构思核心就是打造“仙山”的感觉 —— 三座高耸的山峰，刚好对应道教里的最高神祇“三清”，整座山就像一个缩小版的宇宙。翻涌的云海不只是天气现象，被人们解读成隔绝尘世的“太虚之境”，也是滋养万物的“天地元气”，充满了“仙境”那种空灵又神秘的氛围。

这种艺术感也体现在“入山水画”的体验里。造型奇特的花岗岩山峰，配上翠绿繁茂的古松，正符合中国山水画的构图美感。行人在山间走，就像一步步走进了水墨长卷，从远远看着画，变成了画里的一部分。它深层的艺术内涵，其实是“澄心悟道”的体验 —— 清泉潺潺，松涛阵阵，这些“自然之声”能洗去一身的世俗烦恼。视觉和听觉凑在一起的安静环境，能让人不只是停留在看风景的表面，慢慢达到道家追求的精神澄澈，让这趟自然之旅多了些值得琢磨的哲学味道。

====神话传说：烟火气的地方叙事====

三清山的神话传说深深扎在本土化叙事之中。人们给没感情的山水赋予人的性格、编上故事，让自然空间变成了有温度的文化圣地。这些传说的精妙之处在于，让那些奇奇怪怪的自然景观变得好懂、好亲近。比如面对“司春女神”峰，先民就借着西王母的神话来解读，把冰冷的花岗岩变成了掌管繁衍的神祇，原本让人敬畏的奇景，一下子就亲切了：“巨蟒出山”的传说常带着警示意味，给冷冰冰的巨石添了点教化的温度。以葛洪炼丹为代表的道教传说，把宽泛的道教信仰落到了具体的洞穴上，也提高了这座山在正统宗教里的地位；而“狐狸啃鸡”这类民间故事，更贴近普通人的生活，藏着朴素的善恶有报观念，反映了大家心里的价值取向。

这些交口相传历久弥新的一段段故事，让三清山的一草一木都成了藏着文化记忆的符号。传说不只是用来解释地貌的，更是当地人建立文化认同、传递价值观的载体，人们在山里走，脚下踩的不只是石头泥土，更是一张由神话织成的、关乎天地人神的精神载体。

====隐逸风尚：“不问世事”的精神寄托====

三清山的隐逸文化，其实就是中国传统士人“达则兼济天下，穷则独善其身”的一种实践。它不是消极逃避现实，而是主动到自然里找精神上的独立。这座山的吸引力核心，就在于能提供安静的居所和净化心灵的环境 —— 崎岖的地形，缭绕的云雾，天然就形成了一道和世俗隔开的屏障，给隐者提供了身体和心理上的双重保护。山里的清泉、古松、幽谷凑在一起的景象，被认为是洗去官场烦恼、找回本心的理想地方。

这种文化有很明确的实践方向。以葛洪为代表的道教信徒，把山林当成炼丹养生的地方，想实现身体和精神的双重提升；受道教影响的文人来这里隐居，比如朱熹就曾在这里讲学，他们更看重把山水当成读书、思考的静修地，在自然里陶冶情操、琢磨道理。三清山的隐逸传统，本质上是把自然空间变成了自由之地，让士人们在政治失意或者时代动荡的时候，能在这里安身，从追名逐利的世俗人，变回亲近自然的本真之人。这也让三清山成了承载中国士人进退智慧、独立人格理想的文化地标。

====现代文创：文化意象的重构创新====

三清山的现代人文风貌，核心是对传统意象的创新和重构。文化实践早就从古人的修身悟道，变成了今人的体验和游乐。现代的空间设计、旅游规划，常常会借用传统意象：高空栈道被叫做“阳光海岸，名字和走起来的路径，都特意营造出在仙境云海中漫步的感觉；景观解说系统会把神话和道教故事重新讲一遍，让自然奇观变成有情节、好理解的文化场景。

隐逸文化也被做成了大众化的精神疗愈产品 —— 山里的精品民宿常叫“归隐”“问道”这类名字，提供短暂的“不问俗事”的体验；“三清山雪糕”“女神峰折扇”这些文创产品，把山水意象变成了能带走的消费符号；短视频更是把它“人间仙境”的样子放大了。这既反映了消费时代对古典意象的筛选、简化和重新包装，也给传统文化的当代传播带来了新的机遇。

====总结====

建筑是哲学思想的具体表达，山水是心灵世界的映照，传说是集体记忆的梦境，隐逸是士人的人生选择，文创是传统元素的当代再生。三清山的文化深度，就在于它能让不同时代、不同身份的人，从山石云雾里读出自己所需的精神追求与感受 —— 这正是中国文化“和而不同”的精神，在山岳景观里的极致体现。

===参考文献===

[1]陈斯伟. 大美三清山[J]. 环境经济, 2021, (02): 50-51.
[2]黄和平, 王智鹏, 林文凯. 风景名胜区旅游资源价值损害评估——以三清山巨蟒峰为例[J]. 旅游学刊, 2020, 35(09): 26-40.
[3]黄建军. 三清山: 秀中藏秀,奇中出奇[J]. 江西电力, 2021, 45(07): 57.
[4]李建立. 三清山美景[J]. 宏观经济研究, 2015, (09): 2.
[5]李忠东. 峰林的家乡松石的画廊——三清山世界地质公园探秘(上)[J] .资源与人居环境, 2018, (01): 28-33.
[6]刘春燕, 毛建华, 叶民盛. 三清山道教文化旅游资源开发研究[J]. 江西社会科学, 2003, (04): 229-230.
[7]刘佩芝. 试论三清山申报世界遗产的优势[J]. 上饶师范学院学报, 2007, (05): 29-33.
[8]汪源林, 李小龙, 刘纯青. 三清山世界自然遗产地的可持续发展[J]. 中国园林, 2014, 30(11): 85-87.
[9]薛花, 周堃. 三清山遗产资源评价及保护研究[J]. 安徽农业科学, 2016, 44(09): 206-209.
[10]杨敏, 李芳媛. 文旅融合视角下的名山旅游品牌提升研究——以江西四大名山为例[J] .低碳世界, 2019, 9(10): 274-275.
[11]袁晶, 陈凡. 浅谈三清山风景区摩崖石刻造像艺术美学意蕴[J]. 大众文艺, 2018, (16): 66-67.
[12]百度百科
[13]China discovery网站
[14]三清山官网

===术语===

八卦The Eight Trigrams
三清宫Sanqing Temple
风雷塔Fenglei Pagoda
炼丹井elixir refining wells
飞仙台 Feixian Platform
东方女神Oriental Godness
巨蟒出山Giant Boa
司春女神Sichun Godness
狐狸啃鸡Fox Eating Chicken
葛洪炼丹Ge Hong refining elixirs
羽化登仙ascend to immortality
太虚之境the realm of Great Emptiness
天地元气Fundamental Qi
澄心悟道purify the mind to attain enlightenment
善恶报应What goes around comes around.
道法自然Dao operates naturally.
天人合一harmony between man and nature
见素抱朴maintain originality and embrace simplicity
大智若愚still water runs deep
和而不同Harmony with Uniformity
外师造化，中得心源Draw artistic inspiration from both within and without.
人法地，地法天，天法道，道法自然Man’s law is earthly, earth’s law is natural, and heaven’s law is Dao.
达则兼济天下，穷则独善其身In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven.

===问题===

1.三清山名字由何而来？
2.三清山有哪些景点？
3.三清山与哪个宗教联系紧密？
4.司春女神峰以哪个人物故事为背景？
5.为什么三清山是古时文人隐居之地？

===答案===

1.因玉京、玉虚、玉华三峰对应道教“三清”尊神而得名。
2. 与道教关系最为紧密，是道家“洞天福地”和自然哲学的实践典范。
3. 以神话中西王母之女瑶姬的故事为背景，象征生机。
4. 其险峻地理与道教氛围为文人提供了远离尘俗的精神净土。
5. 司春女神峰、巨蟒出山、三清宫、玉京峰及西海岸高空栈道等。

User:Zhang Minjie

2025-12-29T13:06:34Z

Zhang Minjie:

My name is Zhang Minjie, which is 张敏杰 in Chinese, a first-year English Translation postgraduate at Hunan Normal University. I graduated from Jiangsu University of Science and Technology, where I took courses like Advanced English and English Writing. In my spare time, I love watching dramas and reading—these hobbies always boost my enthusiasm for translation.

==期末论文==

===栖凤渡鱼粉===

====介绍====

=====历史溯源=====

栖凤渡鱼粉的由来与三国时期庞统的传说沾边，真正成型是在清代中期的栖凤渡地区。西河流经这里，水流平缓，鲢鱼产量高，正好成了鱼粉的核心食材。到晚清的时候，湘南一带种辣椒的越来越多，茶油加工作坊也跟着冒了出来。当地渔民就把这三样东西和米粉凑在一块儿，做出了这款红汤鱼粉。

民国时期，栖凤渡码头成为重要货运节点，码头工人需要快速、耐饥、驱寒的食物，鱼粉因价格实惠、制作快速得以流行。当时镇上知名的“刘记鱼粉”每天凌晨三点起熬汤，五点准时营业。工人们便端着碗，蹲在码头边嗦粉。

二十世纪八十年代，郴州矿产开发推动鱼粉从栖凤渡镇传入郴州市区。1987年，第一家挂牌“正宗栖凤渡鱼粉”的店铺在郴州国庆北路开业，采用前店后坊模式，明厨制作。二十一世纪初，真空包装技术实现鱼粉对外销售，但风味略有损失。

=====食材选择=====

栖枫渡鱼粉传统制作工艺对原材料挑选和处理标准极高。选鱼这一步尤其讲究，一般只用西河流域自然生长的野生鲢鱼，重量得控制在一斤半到两斤之间。这种鱼生长在水流湍急的水域，肉质紧实有嚼劲，清晨捕上来之后，必须在两小时内完成加工。现在多数店铺用的是养殖鲢鱼，看重品质的商家则会专门制定用水库鱼。加工时要把鱼头和鱼身分开，鱼头用来熬汤底，鱼身切成片备用。

米粉取当地晚季采收稻米，经8小时浸泡后研磨成浆。依循传统工艺，将米浆均匀摊放在竹制蒸笼托盘上以柴火蒸3分钟制成厚度约1.5毫米的粉皮。粉皮稍作降温后人工折叠，用专用刀具切成1厘米宽条状。这种鲜米粉只能保存一天，口感兼具滑嫩与嚼劲。

选料锁定本地五爪辣椒，需待秋季完全熟透变红后再行摘取。晾晒环节将辣椒平铺在竹席上，每日翻动晾晒，半月便可脱水干透。使用前剔除七成上下的辣椒籽，再用石臼捣碾成3-5毫米的辣椒碎片。

茶油得选当年新榨的，色颜色要金黄澄澈。用之前得先过滤，去掉里面的杂质。传统做法里，茶油要和少量桂皮、八角一起加热到150℃，把香料捞出来后，再用来炼制辣椒，这样能让油香更有层次。辣椒与茶油的重量配比大概是1:5。

=====制作流程=====

制作栖枫渡鱼粉要先将鲢鱼头对半劈开，鱼骨切段。锅烧热后倒入适量茶油，待油热放入鱼头鱼骨，用中火煎至两面金黄。随即加入足量冷水，大火煮沸后仔细撇去浮沫，再转小火，保持汤微沸状态慢慢熬。熬制过程需保持足够时长且不盖锅盖，使鱼腥味充分散发。最终得到一锅乳白浓郁的鱼汤。

另取一锅倒入较多茶油加热至指定温度后离火。待油温稍降，迅速倒入备好的辣椒碎片，此时会产生大量气泡，需持续搅拌片刻。再加入一勺豆豉，利用余温烘出香味，静置一天一夜让辣椒香气充分融入油中制成红油备用。

取适量熬好的鱼汤，加入几勺炼好的红油，大火煮沸。调入适量盐、少许酱油及少量白胡椒粉。同时另起一锅烧开水，放入鲜米粉快速烫煮片刻，捞出放入碗中。最后将鱼片放入调味沸腾的汤中稍煮至变白，连汤带鱼片一同倒入碗中。

=====风味特点=====

栖枫渡鱼粉的辛辣口感有着清晰递进层次。入口最先感知辣椒馥郁香气而非灼热辣感，合适温度茶油能充分激发辣椒内含芳香成分。三秒时间过后，辛辣滋味慢慢扩散开来且刺激感十分柔和。这种辣味滞后呈现和辣椒碎块大小有关，体积偏大的碎块需要耗费一定时长释放辛辣因子。

鱼粉的鲜味来源于三个核心部分：鱼头鱼骨长时间熬煮产生的游离氨基酸、豆豉提供的发酵鲜味以及少量酱油带来的酱香。三种鲜味呈现具有时序差异，鱼鲜最先感知，发酵鲜味随后呈现，酱香最后呈现。

温度把控是栖枫渡鱼粉风味展现的核心要素。鱼粉端上桌时汤品温度约为85℃，盛装所用的碗具需预热加温。此温度环境下辛辣味更易挥发，可经鼻腔直接被人体感知。食客进食过程汤温逐步降至60℃左右，这一阶段味蕾对鲜香滋味的感知度上升，能更真切体会汤底的浓厚口感。

=====现状与变化=====

现在郴州城里开的鱼粉店已超过200家，真正守着老法子做的也就三十家上下。传统做法的关键就是不用干米粉，全用新鲜的，店里红油辣料都是现熬，汤底也得每天换新。这些坚持老工艺的店，一天能卖出两三百到四百碗，一碗的价格大概在十五到二十五块钱。

栖凤渡鱼粉工业化量产产品自 2015 年开始上市，主要靠各类电商平台卖货。靠着高温灭菌和真空封装这两项技术，产品的保质期能延长到180 天。不过这种预制鱼粉的口感和店里现做的比起来差得不少，问题主要出在米粉的口感变了，食材原本的香味也散掉了。2022年的时候，袋装栖凤渡鱼粉的总产量差不多有3000万元。

年轻一代厨师试着给栖凤渡鱼粉做些改良，比如减少用油量，加些青菜、木耳之类的配菜。鱼粉的核心顾客还是四十岁以上的本地人，他们更爱吃传统口味的。有些店还推出了辣度可选的服务，把红油用量分成微辣、中辣、特辣三个标准等级。

在手艺传承这块，当地开了两个鱼粉制作培训班，课程一共七天，教的都是基础的制作手艺。资深的从业者都觉得，火候的把控和调味的配比要达到均衡，至少得练上三个月才能摸到点门道。现在有记载的老师傅大概有十二位，年纪最大的已经七十六岁了，还是每天盯着店里熬汤底。

栖凤渡鱼粉原本只在早上卖，现在不少店已经全天供应了，晚上的销量差不多能占到全天的三成。这种消费场景的转变和当地人作息的改变有关，越来越多人把鱼粉当成中午或者晚上填肚子的方便选择。

===Qifengdu Fish Rice Noodles===

====Introduction====

=====Historical Origins=====

Qifengdu Fish Rice Noodles have rooted in the legend of Pang Tong from the Three Kingdoms. The dish really took shape in Qifengdu Town in the mid-Qing Dynasty. The Xi River flows slowly here, with lots of silver carp. These fish gave the main ingredient for the dish. By the late Qing Dynasty, chili growing became common in southern Hunan. Tea oil processing workshops also appeared around this time. Local fishermen started mixing these things with rice noodles. They made this special red-broth noodle dish this way.

In the Republic of China time, Qifengdu Wharf turned into an important freight center. Dockworkers needed food that was quick to get, filling enough, and could warm them up. Fish noodles got popular because they were cheap and made fast. The famous “Liu’s Fish Noodles” shop in town started cooking its broth at 3 o’clock in the morning every day. It opened right on time at 5 a.m. Workers would then carry their bowls, squatting by the wharf to slurp their noodles.

In the 1980s, with the development of Chenzhou’s mining industry, the dish spread from Qifengdu Town to the city proper. In 1987, the first shop bearing the sign “Authentic Qifengdu Fish Noodles” opened on Guoqing North Road in Chenzhou, operating on a front-shop, back-kitchen model with an open cooking area. In the early 21st century, vacuum-packing technology allowed the noodles to be sold to other regions, though with some compromise to the original flavor.

=====Ingredient Selection=====
The traditional method for preparing this dish has very strict requirements for the fish. People prefer wild silver carp from the West River. These fish live in areas with rapid currents, and usually weigh between 1.5 and 2 pounds. Due to this environment, their meat is firm. They are caught in the early morning. After being caught, they must be processed within two hours. Nowadays, farmed silver carp is used more commonly. However, some quality-conscious stores still insist on using fish from reservoirs. They do this to make the taste of the sold fish closer to that of wild fish. The head and body of the fish are processed separately: The head is used to make the soup, and the body is cut into slices.

The rice noodles are made from the late-season harvested rice from the local area, soaked for eight hours before being ground into slurry. According to the traditional method, this paste is evenly spread evenly on a bamboo steamer tray and steamed over wood fire for about three minutes. Thus, thin noodle sheets about 1.5 millimeters thick are made. After cooling a little, it is folded by hand and cut into strips roughly one centimeter wide with a special knife. These fresh noodles can only be kept for one day, and have a smooth texture and a good chewiness.

The chili must be the local "Five-Claw", and it is only harvested in autumn. At that time, it will turn completely red. To dry them, people spread the chili thinly on bamboo mats, and they need to turn them over every day. This process takes around fifteen days. Before using them, about 70% of the seeds need to be removed. Then the chili is placed in a stone bowl and crushed. They thus become small pieces measuring 3 to 5 millimeters in size.

The tea oil must be the one pressed in the current year, golden and clear. It needs to be filtered to remove dirt or debris. Traditional methods require heating the tea oil with a small amount of cinnamon and star anise before removing these spices a step named extracting the aroma to endow the oil with rich fragrance and prepare it for chili frying. The ratio of tea oil to chili is about 1:5.

=====Production Process=====

First, prepare the soup base. Wash the head of the big carp, cut it into half, and cut the fish bones into small pieces. Pour some tea oil into the frying pan and heat the oil. When the oil is hot, add the fish head and fish bones. Fry them over medium heat until both sides turn golden brown. Pour in enough cold water and heat the water to a vigorous boil. Carefully skim off the surface foam and reduce the heat. Let the soup simmer for a long time. Do not cover the frying pan lid, as this will allow the fishy smell to fully dissipate. Finally, you will get a thick, milky white fish soup with a very delicious taste.

Next, make the chili oil. Take another frying pan and pour in more tea oil. Heat the oil until it is hot enough. Then remove the pan from the heat, let the oil cool slightly, and quickly pour in the prepared chili powder. This will cause the oil to bubble a lot, and quickly stir it for a moment. Add a spoonful of fermented black beans and let them release their aroma using the residual heat. Place this chili oil for the entire night and day to allow the aroma of the chili to fully blend into the oil.

Finally, assemble the dish. Take an appropriate amount of the cooked fish soup and add a few spoons of the red chili oil. Bring this mixture to a boil. Add some salt, a little soy sauce, and a little white pepper powder. Put another pot on the stove and boil some water. Quickly blanch the fresh rice noodles in the boiling water. Then pour off the water and put the noodles in a bowl. Put the fish fillets in the seasoned boiling soup and cook for a short while until the fish meat turns white. Stop cooking when the fish meat is white and immediately pour the soup and fish onto the noodles in the bowl.

=====Flavor Profile=====

The noodles’ spiciness has clear layers. The first feeling is the chili’s aroma, not its heat, because the tea oil at the right temperature first releases the chili's fragrant substances. The burning heat starts to show up after about three seconds but remains in control, not too sharp to stand. This slow-coming effect comes from bigger chili pieces, which need more time to release spicy part of chili.

The broth's savory taste comes from three things: the free amino acids from slow cooking fish heads and bones foe long, the fermented flavor provided by the black beans, and the savory depth from the small amount of soy sauce. These savory tastes show up at different moments: the fish’s freshness first, followed by the fermented bean flavor, with the soy’s richness lingering last.

Temperature control matters most for the flavor experience. The noodles get served hot, around 85°C, in a pre-warmed bowl. This temperature makes spicy substances float up more easily, and you smell them right through your nose. As one eats and the temperature gradually drops to around 60°C, the taste buds grow more sensitive to the savory taste, allowing for a better appreciation of the broth's smooth and rich taste.

=====Current Status and Variations=====

Currently, there are over 200 fish noodle shops in Chenzhou's urban area, but only about 30 steadfastly adhere to traditional methods. The hallmarks of traditional preparation are: using fresh noodles instead of dried; preparing the chili oil on-site; and simmering a fresh batch of fish broth daily. These shops sell between 200 and 400 bowls per day on average, priced from 15 to 25 RMB.

Industrialized items started showing up around 2015. They are sold mostly on online shopping platforms. These products use high-temperature sterilization and vacuum packaging, achieving a shelf life of up to 180 days. However, their texture and smell are quite different from fresh ones, mainly due to changes in the noodle's thickness and a loss of fragrance. In 2022, the output value of packaged Qifengdu Fish Noodles was approximately 30 million RMB.

Younger cooks are trying new things, such as reducing the oil content or adding more side dishes like greens and wood ear fungus. However, the core consumer group—the local over 40—still prefers the traditional version.

Fish noodles used to be just a breakfast food. That role is slowly changing. Some shops now sell them all day, with evening sales making up about 30% of their daily total. This change links to local people’s lifestyle changes, as more people choose fish noodles as a quick and filling option for lunch or dinner.

====References====

[1]谢苏立,曾双全.栖凤渡鱼粉的价值转译路径探究[J].中国食品,2024,(22):120-122.

[2]张周洋.《小吃湘菜第37部分：栖凤渡鱼粉》地方标准顺利通过专家评审[J].食品工业,2023,44(05):186.

[3]谢苏立.饮食类非物质文化遗产的保护与传承研究——以栖凤渡鱼粉制作技艺为例[J].产业与科技论坛,2020,19(10):242-244.

[4]郴品郴味 “湘”当有味 | 一碗让你“鲜辣入魂”的栖凤渡鱼粉到底有多上头？_文教卫_郴州站_红网https://cz.rednet.cn/content/646941/56/15121379.html

[5]郴州日报数字报-鱼粉里的人间烟火https://e.czxww.cn/html/202509/10/content_93549.html

[6]散文丨郴州人的早餐，从一碗粉开始…… - 郴州 - 新湖南https://www.hunantoday.cn/news/xhn/202507/30078592.html

[7]小镇大业｜一碗鱼粉“吸粉”，向十亿级产业争渡_郴州_湖南频道_红网https://hn.rednet.cn/content/646848/91/13715604.html

[8]栖凤渡鱼粉_百度百科https://baike.baidu.com/item/%E6%A0%96%E5%87%A4%E6%B8%A1%E9%B1%BC%E7%B2%89/4136403

====Terms====

Qifengdu Fish Rice Noodles 栖凤渡鱼粉

Southern Hunan 湘南

reservoir fish 水库鱼

late-season rice 晚稻米

rice slurry 米浆

Five-Claw chili 五爪辣椒

fermented black beans 豆豉

bamboo steamer tray 竹制蒸盘

stone mortar 石臼

vacuum packaging 真空包装

====Questions====

1. When did the dish truly take shape?

2. Name the three core ingredients besides rice noodles.

3. What is a key step for making the fish broth clear and non-fishy?

4. How is the spiciness described?

5. What identifies a traditionally made bowl?

====Answers====

1. In the mid-Qing Dynasty.

2. Silver carp, Five-Claw chili, and tea oil.

3. Skimming off the foam and simmering without a lid.

4. It has distinct layers, starting with aroma, not immediate heat.

5. Using fresh noodles, on-site chili oil, and daily-simmered broth.

File:Chinese Bossy Fictions & Micro-drama.pptx

2025-12-19T13:40:00Z

Zhang Minjie:

Chinese Language and Culture - 2025

2025-12-19T13:27:09Z

Zhang Minjie: /* 2025-10-23 (周四) - Completed */

Welcome to our course website [[Chinese Language and Culture - 2025]]! The AI website for our course is: https://dcg.de/ai/uni/chinese_language_culture.php

=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 [[Media:Black Myth: Wukong_2025.pptx]]
|-
| 4 || Zhāng Mǐnjié || 张敏杰 || 202570081730 || 153. Traditional Cuisine: Eight Major Cuisines of China [[Media:Eight Major Cuisines of China_2025.pptx]]
|-
| 5 || Qín Míngwén || 秦铭雯 || 202570081704 || 19. Twelve Animals of the Chinese Zodiac [[Media:Twelve Animals of the Chinese Zodiac_2025.pptx]]
|-
| 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[[Media:Body_movements_performance_traditional_Chinese_dance.pptx]]
|-
| 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) [[Media:Chinese Dreamcore 2025.pptx]]
|-
| 2 || Chén Kěxīn || 陈可心 || 202570081671 || The Five Famous Mountains [[Media:The_Five_Famous_Mountains_2025.pptx]]
|-
| 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 [[Media:Chinese_horror_movies_2025.pptx]]
|-
| 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) [[Media:Chinese Bossy Fictions & Micro-drama.pptx]]
|-
| 8 || Lǐ Wénqīng || 李文清 || 202570081690 || 132. Porcelain [[Media:Chinese Porcelain.pptx]]
|-
| 9 || Liú Zǐlíng || 刘紫玲 || 202570081699 || 185. Opera: Huangmei opera 黄梅戏[[Media:Opera:Huangmei opera.pptx]]
|-

=== 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) [[Media:Cha_Bai_Xi_2025.pptx]]
|-
| 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)[[Media:Hu Nan Rice Noodles.pptx]]
|-
| 5 || Zhū Zhū || 朱珠 || 202570081738 || 37. Confucianism: Classical Philosophy-Reading the Analects [[Media:Analects_2025.pptx]]
|-
| 6 || Wáng Rǎnrǎn || 王冉冉 || 202570081709 || Shandong cuisine 鲁菜
|-
| 7 || Yáng Shūwén || 杨淑雯 || 202570081722 || Traditional Cuisine: Breakfast Culture of Wuhan [[Media: Breakfast_Culture_of_Wuhan_2025.pptx]]
|-
| 8 || Méi Xīléi || 梅希雷 || 202570081701 || 69. Language: Chinese Dialects[[Media:Language_Chinese_Dialects_2025.pptx]]
|-
| 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）[[Media: Science and Technology: Taobao. pptx]]
|-
| 2 || Chén Míngbō || 陈明菠 || 202570081672 || Education: training Schools
|-
| 3 || Dèng Xīnyǔ || 邓欣雨 || 202570081674 || 253. Yuelu mountain 岳麓山[[Media:Yuelu Mountain（岳麓山）.pptx]]
|-
| 4 || Dèng Xīn || 邓鑫 || 202570081675 || 196. Science and Technology: The culture of Chinese Electric Vehicles [[Media: Chinese Electric Vehicles.pptx]]
|-
| 5 || Fāng Xiān || 方鲜 || 202570081676 || 100. Money Culture: Currency, Jiaozi (A Paper Currency in Northern Song Dynasty) [[Media:Money_Culture_Currency_Jiaozi_A_Paper_Currency_ in_Northern_Song_Dynasty_2025.pptx]]
|-
| 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[[Media:Three Great Towers in China_2025.pptx]]
|-
| 9 || Hú Lěi || 胡磊 || 202570081681 || 193. Science and Technology: Buy together (PDD)[[Media:Science and Technology(PDD).pptx]]
|-
| 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:02a.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 [[Media:Zhongyuan_Festival_2025.pptx]]
|-
| 3 || Kǒng Xiángyǎ || 孔祥雅 || 202570081687 || 266. Hui culture [[Media:Hui_culture_2025.pptx]]
|-
| 4 || Lǐ Mèngxiá || 李孟霞 || 202570081688 || 243. Chinese names [[Media:Chinese_Names_2025.pptx]]
|-
| 5 || Lǐ Pàn || 李盼 || 202570081689 || 175. The Photo Retouching Culture in China [[Media:The_Photo_Retouching_Culture_in_China_2025.pptx]]
|-
| 6 || Wáng Zǐxīn || 王紫新 || 202570081710 || 138.Round Table Culture [[Media:Round_Table_Culture_2025.pptx]]
|-
| 7 || Liú Dān || 刘丹 || 202570081694 || 232. Sun Wukong (孙悟空) [[Media:Sun_Wukong_2025.pptx]]
|-
| 8 || Liú Xīn || 刘欣 || 202570081697 || 170. Chinese Paper-cutting [[Media:Chinese_Paper-cutting_2025.pptx]]
|-
| 9 || Liú Yuán || 刘缘 || 202570081698 || Language: Hakka Dialect 1845
|}

=== 2025-11-07 (周五) - 共 10 个演讲 ===

Forum Discussion: Concept of Tianxia https://dcg.de/ai/uni/chinese_language_culture.php#tianxia

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Pān Liànyàn || 潘恋艳 || 202570081702 || 283. Guangdong Morning Tea Culture [[Media:Guangdong morning tea.pptx]]
|-
| 2 || Péng Xiāngrú || 彭湘茹 || 202570081703 || 5. Aesthetic ideals and social customs: Crying Marriage of Tujia [[Media:Crying Marriage of Tujia.pptx]]
|-
| 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 [[Media:Chopsticks_2025.pptx]]
|-
| 9 || Wú Hóngpíng || 吴洪萍 || 202570081713 || 31. Chinese clothing [[Media:Chinese Clothing_2025.pptx]]
|-
| 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[[Media:The culture of Ronghua-Velvet Flowers 2025.pptx]]
|-
| 3 || Xióng Ruòyáo || 熊若瑶 || 202570081717 || 169. Cuisine: Luosifen [[Media: Luosifen_2025.pptx]]
|-
| 4 || Yán Zhéwén || 严哲文 || 202570081718 || 9. Architecture: The Forbidden City [[Media: Architecture The Forbidden City.pptx]]
|-
| 5 || Yáng Hàodān || 杨皓丹 || 202570081719 || 209. Tofu meatball with pig blood(猪血丸子）[[Media: Tofu meatball with pig blood_2025.pptx]]
|-
| 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 [[Media:Facial Make-up Face Changing in Sichuan Opera.pptx]]
|-
| 8 || Yáng Xīrán || 杨晰然 || 202570081723 || 191. Aesthetic ideals and social customs: The Culture of Flowers [[Media: 191. The Culture of Flowers.pptx]]
|-
| 9 || Yáng Yǔxuān || 杨宇轩 || 202570081724 || 20. Milk tea 奶茶[[Media:Milk Tea-.pptx]]
|-
| 10 || Yì Yǎlán || 易雅兰 || 202570081725 || 235.Bamboo Weaving 竹编 [[Media:Bamboo_Weaving_2025.pptx]]
|}

=== 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 [[Media: Jiaozi.pptx]]
|-
| 2 || Yuè Ziháo || 岳子豪 || 202570081727 || 108. Opera: Peking Opera (京剧)
|-
| 3 || Zhāng Lì || 张丽 || 202570081728 || 180. Tangyuan (汤圆)[[Media:Tangyuan_2025.pptx]]
|-
| 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 [[Media: Wu Zetian_2025. pptx]]
|-
| 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 [[Media: Chinese Lion Dance.pptx]]
|}

=== 2025-11-27 (周四) - 共 9 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 [[Media:251. Rice Noodle Roll.pptx]]
|-
| 2 || Chén Yǎqí || 陈雅琪 || 202570081740 || 157. Traditional Cuisine—hotpot [[Media: Traditional Cuisine— hotpot. pptx]]
|-
| 3 || Chén Yǔfēi || 陈宇飞 || 202570081741 || 91. Martial Arts: Wushu
|-
| 4 || Huáng Yǎqiàn || 黄雅倩 || 202570081745 || 93. Medicine: Traditional Chinese Medicine (TCM) [[Media:Medicine: Traditional Chinese Medicine (TCM). pptx]]
|-
| 5 || Lín Zhǐyí || 林芷怡 || 202570081746 || 92. Frolics of the Five Animals (wuqinxi)
|-
| 6 || Liú Kāngyí || 刘康怡 || 202570081747 || 112. Huagu Opera (花鼓戏)
|-
| 7 || Lǚ Píng || 吕萍 || 202570081749 || 102. Music and instruments: guzheng
|-
| 8 || Shěn Yàn || 沈燕 || 202570081751 || 241. Abacus (珠算)
|-
| 9 || Tán Tíngtíng || 谭婷婷 || 202570081752 || 202. The Legend of Zhen Huan《甄嬛传》[[Media:The Legend of Zhen Huan.pptx]]
|}

=== 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: Changde Spicy Salted Duck
[[media: Cuisine：Changde Spicy Salted Duck.pptx]]
|-
| 7 || Zhōu Xuán || 周璇 || 202570081761 || 186. The "reference" of Chinese Music (中国音乐的"借鉴")[[Media:The "reference" of Chinese Music.pptx]]
|-
| 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 10 个演讲 ===

{| class="wikitable"
|-
! Nr. !! Name (Pinyin) !! 中文 !! 学号 !! Topic
|-
| 1 || Lǐ Fán || 李凡 || 202570081764 || 150. Traditional Crafts: The Kingfisher Craft 点翠
|-
| 2 || Péng Lùxī || 彭露曦 || 202570081765 || 52. Games: Mahjong: An Ancient Chinese card play
|-
| 3 || Hú Mínghào || 胡明浩 || 202570081766 || 270. The Yingge Dance (英歌舞)
|-
| 4 || Huáng Lèlè || 黄乐乐 || 202570081767 || 6.The Four Most Handsome Men in Ancient China [[media: The Four Great male Beauties in Ancient China.pptx]]
|-
| 5 || Jiāng Jiāyǔ || 姜佳宇 || 202570081768 || 224. Jiangxi Cuisine (赣菜) [[media: Jiangxi Cuisine (gancai).pptx]]
|-
| 6 || Liáng Yǔtóng || 梁羽彤 || 202570081769 || 256. Danmu (弹幕)
|-
| 7 || Péng Ruǐmiáo || 彭蕊苗 || 202570081770 || 178.Erhu(二胡）
|-
| 8 || Qín Níng || 秦宁 || 202570081771 || 28.The Evolution of Calligraphy(汉字的演变）
|-
| 9 || Wú Jǐnxuán || 吴瑾璇 || 202570081772 || 274. God of Wealth (财神)
|-
| 10 || Hé Yǐng || 何颖 || 202570081744 || 276. Nail art (美甲)[[media: Nail Art.pptx]]
|}

=== 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 || 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[[Media:Landscapes and Tourism Harbin Ice and Snow World_2025.pptx]]
|-
| 6 || Liào Rútíng || 廖如婷 || 202570081779 || 255.Chinese style - sun protection[[Media:Chinese style - sun protection_2025.pptx]]
|
| 7 || Wáng Huìān || 王慧安 || 202570081780 || 128. TikTok (Douyin)[[Media:Douyin_2025.pptx]]
|-
| 8 || Wú Héng || 吴姮 || 202570081781 || 215. Live Streaming E-commerce (直播电商)[[Media:Live-streaming e-commerce_2025.pptx]]
|}

=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=
Please upload your ppt if you not have done so so far.
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]

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

[[Media:ChaBaiXi.pptx]]

==Grading Criteria for Powerpoint Presentations==
#Was the presentation based on scientific facts, did the presenter also conduct some research on the topic and did he/she also add her own experience or her own opinion/perspective and marking the two different perspectives as factual/subjective? Did the presentation avoid absolute judgments like "good" or "best", but did it instead use vocabulary like "fascinating", "surprising" etc. and also indicated to whom it is fascinating/surprising etc. and why?
#Was the presentation successful? Did it catch the attention of the audience over the whole time? Was the presenter persuading? Was the audience excited/fascinated? Did the audience learn something? (Or was the audience bored and talked the whole time without paying attention to the presenter?)
#Formal things: Was the speaker good to hear (loud/clear)? Did he make a self-confident impression and did he know his topic? Did the speaker speak freely and not read out? Where there meaningful pictures and graphs on the slides and only a few keywords, well sorted by numbers or bullet points (or was the powerpoint merely a text desert of small size script with the script being copied onto the slides)?
#Was the presentation appropriate to the topic?
#Was the activity part meaningful and appropriate to the topic? Did it speak to everyone in the audience individually?
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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。

Uvu/index.php/User:Zhang Meirong

2025-12-19T12:10:10Z

Zhang Minjie:

Final Exam Paper

==期末论文==

===三清山===

====整体介绍====

三清山在江西省上饶市东北部，正好坐落在玉山县和德兴市的交界处。它既是世界自然遗产，也是世界地质公园，核心景观除了成片的花岗岩峰林，还有“东方女神”“蟒蛇出山”这类很有画面感的象形景观。经过千百年的风化侵蚀，这里的地貌变得丰富多样，生态保护得很好，植被顺着山势垂直分布，层次分明，还生活着不少珍稀的动植物。春天一到，山间满是杜鹃花；夏天云雾在山谷里翻涌；秋天整座山林被染得五彩斑斓；冬天雾凇挂在枝头，洁白透亮，四季轮替下来，就像一幅活灵活现的山水卷。

三清山最特别的地方，在于自然和人文能融合得很好，恰好对应了道教“三清”的核心理念。早在晋代，葛洪就曾在这里筑庐炼丹，之后历代的道教活动慢慢造就了以三清宫为核心的古建筑群。这些建筑没按常规的中轴对称来建，而是顺着八卦方位，悄悄藏在山水之间，把“道法自然”的想法体现得淋漓尽致。加上文人墨客留下的题咏，还有民间一直流传的神话传说，三清山早就不只是一座单纯的山了，它成了人们寄托隐逸理想、安放审美追求和精神信仰的文化圣山，也藏着中国的自然哲学、宗教思想和艺术美学。

====建筑特点：“道法自然”的哲学思想====

三清山的建筑，把道教“天人合一”的理念落实得很好。核心就是敬畏自然，富含哲理，不刻意去追求多大的规模、多华丽的装饰。山腰上的三清宫古建筑群最有代表性，它的布局跳出了传统的中轴对称，顺着山势、按八卦方位来建，把“人法地，地法天，天法道，道法自然”的思想融在了建筑里。主殿用的是石木材料，透着古朴的质感，颜色和周围的青松、褐石很协调，刚好契合了道教“见素抱朴”“大智若愚”的审美。

这些建筑的选址和用途都藏着深意。紧邻悬崖的“风雷塔”看着不大，其实是用来守护风水、镇压邪祟的祭祀平台，精神上的意义远比实际用途重要。山里到处能见到炼丹井、飞仙台这类遗迹，把“升仙”这种虚无缥缈的想法，变成了能亲眼看到、摸到的场景。三清山的建筑都带着“隐逸”的感觉，不靠着征服自然来彰显人的本事，而是领着人们去体会山的规律，慢慢实现精神上的升华。

====山水意象：如梦似幻的“人间仙境”====

三清山的景观艺术，把中国古典美学的“外师造化，中得心源”表现得很生动。这里的自然景色不只是地理上的景物，过了上千年的文化浸润，早就有了深层的韵味。它的艺术构思核心就是打造“仙山”的感觉 —— 三座高耸的山峰，刚好对应道教里的最高神祇“三清”，整座山就像一个缩小版的宇宙。翻涌的云海不只是天气现象，被人们解读成隔绝尘世的“太虚之境”，也是滋养万物的“天地元气”，充满了“仙境”那种空灵又神秘的氛围。

这种艺术感也体现在“山水入画”的体验里。裸露的花岗岩山峰，配上生机勃勃的古松，刚好符合中国山水画的构图美感。游人在山间走，就像一步步走进了水墨长卷，从远远看着画，变成了画里的一部分。它深层的艺术内涵，其实是“澄心悟道”的体验 —— 清泉潺潺，松涛阵阵，这些“自然之声”能洗去一身的世俗烦恼。视觉和听觉凑在一起的安静环境，能让人不只是停留在看风景的表面，慢慢达到道家追求的精神澄澈，让这趟自然之旅多了些值得琢磨的哲学味道。

====神话传说：烟火气的地方叙事====

三清山的神话传说深深扎在本土化叙事之中。人们给没感情的山水赋予人的性格、编上故事，让自然空间变成了有温度的文化圣地。这些传说的精妙之处在于，让那些奇奇怪怪的自然景观变得好懂、好亲近。比如面对“司春女神峰，先民就借着西王母的神话来解读，把冰冷的花岗岩变成了掌管繁衍的母性神祇，原本让人敬畏的奇景，一下子就亲切了：“巨蟒出山”的传说常带着警示意味，给冷冰冰的巨石添了点道德教化的温度。以葛洪炼丹为代表的道教传说，把宽泛的道教信仰落到了具体的洞穴上，也提高了这座山在正统宗教里的地位；而“狐狸啃鸡”这类民间故事，更贴近普通人的生活，藏着朴素的善恶有报观念，反映了大家心里的价值取向。

这些一层一层堆起来的故事，让三清山的一草一木都成了藏着文化记忆的符号。传说不只是用来解释地貌的，更是当地人建立文化认同、传递价值观的载体，人们在山里走，脚下踩的不只是地质遗迹，更是一张由神话织成的、关乎天地人神的精神地图。

====隐逸风尚：“不问世事”的精神寄托====

三清山的隐逸文化，其实就是中国传统士人“达则兼济天下，穷则独善其身”的一种实践。它不是消极逃避现实，而是主动到自然里找精神上的独立。这座山的吸引力核心，就在于能提供安静的居所和净化心灵的环境 —— 崎岖的地形，缭绕的云雾，天然就形成了一道和世俗隔开的屏障，给隐者提供了身体和心理上的双重保护。山里的清泉、古松、幽谷凑在一起的景象，被认为是洗去官场烦恼、找回本心的理想地方。

这种文化有很明确的实践方向。以葛洪为代表的道教信徒，把山林当成炼丹养生的地方，想实现身体和精神的双重提升；受道教影响的文人来这里隐居，比如朱熹就曾在这里讲学，他们更看重把山水当成读书、思考的静修地，在自然里陶冶情操、琢磨道理。三清山的隐逸传统，本质上是把自然空间变成了自由之地，让士人们在政治失意或者时代动荡的时候，能在这里安身，从追名逐利的世俗人，变回亲近自然的本真之人。这也让三清山成了承载中国士人进退智慧、独立人格理想的文化地标。

====现代文创：文化意象的重构创新====

三清山的现代人文风貌，核心是对传统意象的创新和重构。文化实践早就从古人的修身悟道，变成了今人的体验和游乐。现代的空间设计、旅游规划，常常会借用传统意象：高空栈道被叫做“阳光海岸，名字和走起来的路径，都特意营造出在仙境云海中漫步的感觉；景观解说系统会把神话和道教故事重新讲一遍，让自然奇观变成有情节、好理解的文化场景。

隐逸文化也被做成了大众化的精神疗愈产品 —— 山里的精品民宿常叫“归隐”“问道”这类名字，提供短暂的“不问俗事”的体验；“三清山雪糕”“女神峰折扇”这些文创产品，把山水意象变成了能带走的消费符号；短视频更是把它“人间仙境”的样子放大了。这既反映了消费时代对古典意象的筛选、简化和重新包装，也给传统文化的当代传播带来了新的机遇。

====总结====

建筑是哲学思想的具体表达，山水是心灵世界的映照，传说是集体记忆的梦境，隐逸是士人的人生选择，文创是传统元素的当代再生。三清山的文化深度，就在于它能让不同时代、不同身份的人，从山石云雾里读出自己所需的精神追求与感受 —— 这正是中国文化“和而不同”的精神，在山岳景观里的极致体现。

===参考文献===

[1]陈斯伟. 大美三清山[J]. 环境经济, 2021, (02): 50-51.
[2]黄和平, 王智鹏, 林文凯. 风景名胜区旅游资源价值损害评估——以三清山巨蟒峰为例[J]. 旅游学刊, 2020, 35(09): 26-40.
[3]黄建军. 三清山: 秀中藏秀,奇中出奇[J]. 江西电力, 2021, 45(07): 57.
[4]李建立. 三清山美景[J]. 宏观经济研究, 2015, (09): 2.
[5]李忠东. 峰林的家乡松石的画廊——三清山世界地质公园探秘(上)[J] .资源与人居环境, 2018, (01): 28-33.
[6]刘春燕, 毛建华, 叶民盛. 三清山道教文化旅游资源开发研究[J]. 江西社会科学, 2003, (04): 229-230.
[7]刘佩芝. 试论三清山申报世界遗产的优势[J]. 上饶师范学院学报, 2007, (05): 29-33.
[8]汪源林, 李小龙, 刘纯青. 三清山世界自然遗产地的可持续发展[J]. 中国园林, 2014, 30(11): 85-87.
[9]薛花, 周堃. 三清山遗产资源评价及保护研究[J]. 安徽农业科学, 2016, 44(09): 206-209.
[10]杨敏, 李芳媛. 文旅融合视角下的名山旅游品牌提升研究——以江西四大名山为例[J] .低碳世界, 2019, 9(10): 274-275.
[11]袁晶, 陈凡. 浅谈三清山风景区摩崖石刻造像艺术美学意蕴[J]. 大众文艺, 2018, (16): 66-67.
[12]百度百科
[13]China discovery网站
[14]三清山官网

===术语===

八卦The Eight Trigrams
三清宫Sanqing Temple
东方女神Oriental Godness
巨蟒出山Giant Boa
司春女神Sichun Godness
狐狸啃鸡Fox Eating Chicken
羽化登仙ascend to immortality
太虚之境the realm of Great Emptiness
天地元气Fundamental Qi
澄心悟道purify the mind to attain enlightenment
善恶报应What goes around comes around.
道法自然Dao operates naturally.
天人合一harmony between man and nature
见素抱朴maintain originality and embrace simplicity
外师造化，中得心源Draw artistic inspiration from both within and without.
人法地，地法天，天法道，道法自然Man’s law is earthly, earth’s law is natural, and heaven’s law is Dao.
达则兼济天下，穷则独善其身In difficult times, one focuses on self-cultivation; after achieving success, one brings prosperity to all under heaven.

===问题===

1.三清山名字由何而来？
2.三清山有哪些景点？
3.三清山与哪个宗教联系紧密？
4.司春女神峰以哪个人物故事为背景？
5.为什么三清山是古时文人隐居之地？

===答案===

1.因玉京、玉虚、玉华三峰对应道教“三清”尊神而得名。
2. 与道教关系最为紧密，是道家“洞天福地”和自然哲学的实践典范。
3. 以神话中西王母之女瑶姬的故事为背景，象征生机。
4. 其险峻地理与道教氛围为文人提供了远离尘俗的精神净土。
5. 司春女神峰、巨蟒出山、三清宫、玉京峰及西海岸高空栈道等。

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Zhang Minjie:

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2025-12-19T12:08:09Z

Zhang Minjie: Created page with "Final Exam Paper"

Final Exam Paper

File:Eight Major Cuisines of China 2025.pptx

2025-11-07T08:22:44Z

Zhang Minjie:

Chinese Language and Culture - 2025

2025-11-07T08:15:43Z

Zhang Minjie: /* 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 [[Media:Eight Major Cuisines of China_2025.pptx]]
|-
| 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 [[Media:Chinese_horror_movies_2025.pptx]]
|-
| 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) [[Media:Cha_Bai_Xi_2025.pptx]]
|-
| 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:02a.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 [[Media:Round_Table_Culture_2025.pptx]]
|-
| 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=
Please upload your ppt if you not have done so so far.
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]

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

[[Media:ChaBaiXi.pptx]]

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

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。

Chinese Language and Culture - 2025

2025-11-07T08:12:23Z

Zhang Minjie: /* 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 [[Media:Eight Major Cuisines of China_2025]]
|-
| 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 [[Media:Chinese_horror_movies_2025.pptx]]
|-
| 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) [[Media:Cha_Bai_Xi_2025.pptx]]
|-
| 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:02a.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 [[Media:Round_Table_Culture_2025.pptx]]
|-
| 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=
Please upload your ppt if you not have done so so far.
[[Media:282_Black_Myth_Wukong_Chen_Zhen.pptx]]

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

[[Media:ChaBaiXi.pptx]]

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

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。