20210601 culture4 - Revision history

Root: /* Different schools */

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Different schools

Root: /* History */

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History

Root: /* History */

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History

Root: /* C. Appreciation */

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C. Appreciation

Root: /* C. Appreciation */

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C. Appreciation

Root: /* C. Appreciation */

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C. Appreciation

Root: /* B. Relegated to Huizhou */

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B. Relegated to Huizhou

Root: /* B. Relegated to Huizhou */

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B. Relegated to Huizhou

Root: /* B. Relegated to Huizhou */

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B. Relegated to Huizhou

Root: /* C. Artistic Features */

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C. Artistic Features

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 ==Different schools==
-FengShui can be divided into two main schools: Xingshi School and Liqi School. Xingshi School focuses on the study of mountains and rivers and site selection for architecture. Its main method is examining soil and tasting water and followers advocate that houses should be built at the mountain foot, encircled by mountains, exposed to the sun, and facing water. Liqi School pays more attention to the position ，orientation and layout of architecture by using eight diagrams and twelve earthly branches, which mainly derive from ‘The Book of Changes' and astronomy. The famous tool of Liqi School is the FengShui compass. In history, famous FengShui experts are well versed in both Xingshi and Liqi theories.
+FengShui can be divided into two main schools: Xingshi School focuses on the study of mountains and rivers as well as the site selection for architecture. By using its main method (examining soil and tasting water), followers advocate that houses should be built at the mountain foot, encircled by mountains, exposed to the sun, and facing water. Liqi School pays more attention to the position, orientation and layout of architecture by using eight diagrams and twelve earthly branches, which mainly derive from The Book of Changes and astronomy. The famous tool of Liqi School is the FengShui compass. In history, famous FengShui experts are well versed in both Xingshi and Liqi theories.
 ==Major principles==

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 ==History==
-FengShui has a very long history in China. It originated from settlement in humans’ early days. In the Zhou Dynasty (1046 – 256 BC), people used methods of observing soil, tasting water, and investigating terrain to choose the ideal base. In the Warring States Period (475 – 221 BC), the famous militarist and politician of the Qin State, Yan Junji predicted the future by observing the geographical features. The basic theories of FengShui formed in the Han Dynasty (202 BC – 220 AD), based on observing surrounding geographical characteristics. These theories matured in the Tang, Song, and Yuan Dynasties (618 – 1368 AD) and perfected in the Ming and Qing Dynasties (1368 – 1911 AD).
+FengShui has a very long history in China. It originated in early human settlement. In the Zhou Dynasty (1046 – 256 BC), people used methods of observing soil, tasting water, and investigating terrain to choose the ideal base. In the Warring States Period (475 – 221 BC), the famous militarist and politician of the Qin State, Yan Junji predicted the future by observing the geographical features. The basic theories of FengShui formed in the Han Dynasty (202 BC – 220 AD), based on observing surrounding geographical characteristics. These theories matured in the Tang, Song, and Yuan Dynasties (618 – 1368 AD) and perfected in the Ming and Qing Dynasties (1368 – 1911 AD).
 ==Different schools==

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 ==History==
-FengShui has a very long history in China. It originated from settlement in humans’ early days. In the Zhou Dynasty (1046 – 256 BC), people used methods of observing soil, tasting water, and investigating terrain to choose the ideal base. In the Warring States Period (475 – 221 BC), the famous militarist and politician of the Qin State, Yan Junji predicted the future by observing the geographical features. The basic theories of FengShui formed in the Han Dynasty (202 BC – 220 AD), based on observing surrounding geographical characteristics. These theories was mature in the Tang, Song, and Yuan Dynasties(618 – 1368 AD) and perfected in the Ming and Qing Dynasties(1368 – 1911 AD).
+FengShui has a very long history in China. It originated from settlement in humans’ early days. In the Zhou Dynasty (1046 – 256 BC), people used methods of observing soil, tasting water, and investigating terrain to choose the ideal base. In the Warring States Period (475 – 221 BC), the famous militarist and politician of the Qin State, Yan Junji predicted the future by observing the geographical features. The basic theories of FengShui formed in the Han Dynasty (202 BC – 220 AD), based on observing surrounding geographical characteristics. These theories matured in the Tang, Song, and Yuan Dynasties (618 – 1368 AD) and perfected in the Ming and Qing Dynasties (1368 – 1911 AD).
 "It originated from the early settlement of human life." or "It originated in early human settlement." --[[User:Wang Zihan|Wang Zihan]] ([[User talk:Wang Zihan|talk]]) 04:39, 16 June 2021 (UTC)

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 The differences between the translation and the original poem are obvious, but also intriguing. "You enter the age of the Three Kingdoms / Zhuge Liang's Red Cliff": The "you" here is obviously absent from the original poem. This is the "I" of the poem looking at himself (the translated poem returns to the "I" later), which is more important than the original. This is a more important angle than in the original. We should pay attention to this change of personification and perspective in the translation, because it makes it possible to "step out of the self" and to make a self-examination, observation and dialogue of life possible.
-As for the specific translation, Su Shi's "Nian Nu Jiao - Huai Gu at the Red Cliff" is a masterpiece for the ages, which poses a challenge to any translation, how to This is the challenge that Rexroth has to face in order to create a poem in English that "matches" the original poem. For example, the original poem In the original poem, for example, famous lines such as "The rocks pierce the sky, the waves beat the shore, and roll up a thousand piles of snow" are astonishing, and the expressive power of the Chinese language has reached an extreme.
+As for the specific translation, Su Shi's "Nian Nu Jiao - Huai Gu at the Red Cliff" is a masterpiece for the ages, which poses a challenge to any translation, how to translate. This is the challenge that Rexroth has to face in order to create a poem in English that "matches" the original poem. For example, in the original poem, famous lines such as "The rocks pierce the sky, the waves beat the shore, and roll up a thousand piles of snow" are astonishing, and the expressive power of the Chinese language has reached an extreme.
 In this regard, Rexroth translates "the rocks pierce the sky" as "the jagged peaks pierce the sky", which is more successful, as it also has a strange and powerful feeling, just like "transforming a Song-Yuan ink landscape into a Gothic painting", while aptly presenting the precipitousness of the Chibi mountains.

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 We can see that such a creative translation can be said to produce another poem from the original. Rexroth is "bold" enough, for example He said that the original poem did not mention Zhuge Liang, but he put in "Zhuge Liang", probably because he knew that the main character of the Battle of Red Cliff in the Romance of the Three Kingdoms was none other than Zhuge Liang. In addition, for some Western readers, they may be more familiar with the mythical "Zhuge Liang" than with "Zhou Yu". Chinese poets such as Du Fu, whom Rexroth himself admires, have also remembered this sage in verse. Therefore, through the translation, he wants to bring the Western reader into the "Three Kingdoms era / Zhuge Liang's Red Cliff".
-The differences between the translation and the original poem are obvious, but also intriguing. "You enter the age of the Three Kingdoms / Zhuge Liang's red fjord The "you" here is obviously absent from the original poem. This is the "I" of the poem looking at himself (the translated poem returns to the "I" later), which is more important than the original. This is a more important angle than in the original. We should pay attention to this change of personification and perspective in the translation, because it makes it possible to "step out of the self" and to make a We should pay attention to this change of personification and shift of perspective in the translation, because it makes it possible to "step out of the self" and make a self-examination, observation and dialogue of life possible.
+The differences between the translation and the original poem are obvious, but also intriguing. "You enter the age of the Three Kingdoms / Zhuge Liang's Red Cliff": The "you" here is obviously absent from the original poem. This is the "I" of the poem looking at himself (the translated poem returns to the "I" later), which is more important than the original. This is a more important angle than in the original. We should pay attention to this change of personification and perspective in the translation, because it makes it possible to "step out of the self" and to make a self-examination, observation and dialogue of life possible.
 As for the specific translation, Su Shi's "Nian Nu Jiao - Huai Gu at the Red Cliff" is a masterpiece for the ages, which poses a challenge to any translation, how to This is the challenge that Rexroth has to face in order to create a poem in English that "matches" the original poem. For example, the original poem In the original poem, for example, famous lines such as "The rocks pierce the sky, the waves beat the shore, and roll up a thousand piles of snow" are astonishing, and the expressive power of the Chinese language has reached an extreme.

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 ===C. Appreciation===
-We can see that such a creative translation can be said to produce another poem from the original. Rexroth is "bold" enough, for example He said that the original poem did not mention Zhuge Liang, but he put in "Zhuge Liang", probably because he knew that the main character of the Battle of Red Cliff in the Romance of the Three Kingdoms was none other than Zhuge Liang. In addition, for some Western readers, they may be more familiar with the mythical "Zhuge Liang" than with "Zhou Yu. Zhuge Liang" than "Zhou Yu. Chinese poets such as Du Fu, whom Rexroth himself admires, have also remembered this sage in verse. Therefore, through the translation, he wants to bring the Western reader into the "Three Kingdoms era / Zhuge Liang's Red Fjord.
+We can see that such a creative translation can be said to produce another poem from the original. Rexroth is "bold" enough, for example He said that the original poem did not mention Zhuge Liang, but he put in "Zhuge Liang", probably because he knew that the main character of the Battle of Red Cliff in the Romance of the Three Kingdoms was none other than Zhuge Liang. In addition, for some Western readers, they may be more familiar with the mythical "Zhuge Liang" than with "Zhou Yu". Chinese poets such as Du Fu, whom Rexroth himself admires, have also remembered this sage in verse. Therefore, through the translation, he wants to bring the Western reader into the "Three Kingdoms era / Zhuge Liang's Red Cliff".
 The differences between the translation and the original poem are obvious, but also intriguing. "You enter the age of the Three Kingdoms / Zhuge Liang's red fjord The "you" here is obviously absent from the original poem. This is the "I" of the poem looking at himself (the translated poem returns to the "I" later), which is more important than the original. This is a more important angle than in the original. We should pay attention to this change of personification and perspective in the translation, because it makes it possible to "step out of the self" and to make a We should pay attention to this change of personification and shift of perspective in the translation, because it makes it possible to "step out of the self" and make a self-examination, observation and dialogue of life possible.

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 ===B. Relegated to Huizhou===
-In the first year of Shaosheng (1094), Su Shi was again deported, but on the way, he was deported again and again. After being relegated, reappointed, and re-deported again, Su Shi was obviously more relegated to Huizhou than he was when he first arrived. The climate was hot and humid, and the weather was hot and humid. The climate of Lingnan, where epidemics are prevalent, is lovely under Su Shi's writing. He wrote about the scenery of Huizhou: "I eat 300 lychees a day, and I do not resign to be a long Southerners." He wrote about the temporary residence: "The sea and mountains are lush and beautiful, and the two rivers merge and the vermilion building opens." He wrote about winter: "Luofu is moving in spring, and the clouds and sun have a clear light." On a spring day: "After the burning of the tea gun, the wheat waves are empty in front of the water." The fields of Huizhou In Su Shi's writing, it is even more beautiful: "The east wind shakes the waves and dances the net green, the first day The green of the water is sound and delicate yellow. The spring mud is already knee-deep in water, and the autumn cereals in Heihe are firstly divided into seedlings." While living in exile in Huizhou, Su Shi was still full of enthusiasm for life. He could not choose He could not choose where to live, so he quickly adapted and accepted the reality. With a pair of eye for beauty to look around the environment, and a young heart The time that will never come back. (Yang Yang, 2021, 98-99)
+In the first year of Shaosheng (1094), Su Shi was again deported, but on the way, he was deported again and again. After being relegated, reappointed, and re-deported again, Su Shi was obviously more relegated to Huizhou than he was when he first arrived. The climate was hot and humid, and the weather was hot and humid. The climate of Lingnan, where epidemics are prevalent, is lovely under Su Shi's writing. He wrote about the scenery of Huizhou: "I eat 300 lychees a day, and I do not resign to be a long Southerners." He wrote about the temporary residence: "The sea and mountains are lush and beautiful, and the two rivers merge and the vermilion building opens." He wrote about winter: "Luofu is moving in spring, and the clouds and sun have a clear light." On a spring day: "After the burning of the tea gun, the wheat waves are empty in front of the water." The fields of Huizhou In Su Shi's writing, it is even more beautiful: "The east wind shakes the waves and dances the net green, the first day The green of the water is sound and delicate yellow. The spring mud is already knee-deep in water, and the autumn cereals in Heihe are firstly divided into seedlings." While living in exile in Huizhou, Su Shi was still full of enthusiasm for life. He could not choose where to live, so he quickly adapted and accepted the reality. With a pair of eye for beauty to look around the environment, and a young heart The time that will never come back. (Yang Yang, 2021, 98-99)
 During his second exile, he wrote ''One Poem of Huizhou'', ''Butterfly Lovers - Spring Scene'' and so on.

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 '''Diverse types of stitches'''
-The stitching methods of Xiang Embroidery are very rich, up to about 70 types. It is said that with different stitching methods, the same picture can take on a different appearance. Among the various needle methods of Xiang Embroidery, the most representative ones are mixed stitching and hyena hair stitching. The mixed stitching was initiated by the embroiderer Li Yihui, which was later promoted and spread by Hu Lianxian, the owner of Wu Caixia Embroidery Village, the first Xiang Embroidery Village in Changsha. (Yuan Xiaoqin,46)
+The stitching methods of Xiang Embroidery are very rich, up to about 70 types. It is said that with different stitching methods, the same picture can take on a different appearance. Among the various needle methods of Xiang Embroidery, the most representative ones are mixed stitching and hyena hair stitching. The mixed stitching was initiated by the embroiderer Li Yihui, which was later promoted and spread by Hu Lianxian, the owner of Wu Caixia Embroidery Village, the first Xiang Embroidery Village in Changsha. (Yuan Xiaoqin, 46)
 [[File:src=http___www.chnxf.com_uploads_180605_1-1P6051RJOM.jpg&refer=http___www.chnxf.jpg|200px|thumb|middle| stitching methods (https://image.baidu.com/search/detail?ct=503316480&z=0&ipn=d&word=%E6%B9%98%E7%BB%A3%E9%92%88%E6%B3%95&hs=2&pn=0&spn=0&di=98670&pi=0&rn=1&tn=baiduimagedetail&is=0%2C0&ie=utf-8&oe=utf-8&cl=2&lm=-1&cs=2278688748%2C2508536438&os=2897424617%2C3278384351&simid=0%2C0&adpicid=0&lpn=0&ln=30&fr=ala&fm=&sme=&cg=&bdtype=0&oriquery=%E6%B9%98%E7%BB%A3%E9%92%88%E6%B3%95&objurl=https%3A%2F%2Fgimg2.baidu.com%2Fimage_search%2Fsrc%3Dhttp%3A%2F%2Fwww.chnxf.com%2Fuploads%2F180605%2F1-1P6051RJOM.jpg%26refer%3Dhttp%3A%2F%2Fwww.chnxf.com%26app%3D2002%26size%3Df9999%2C10000%26q%3Da80%26n%3D0%26g%3D0n%26fmt%3Djpeg%3Fsec%3D1626255123%26t%3D121cab4fb9611a1e6bb74094d9b585ca&fromurl=ippr_z2C%24qAzdH3FAzdH3Fooo_z%26e3Bvigxu_z%26e3Bv54AzdH3F15g2pwtAzdH3Fztx7gAzdH3Fda8bamacd88_z%26e3Bip4s&gsm=1&islist=&querylist=)]]
 It is precisely because of the promotion of this stitching that Xiang Embroidery has set itself apart from the other embroideries and has become independent and outstanding embroidery art.
-Hyena hair stitching is developed on the basis of mixed stitching. Compared with mixed stitching, hyena hair stitching pursues changes in color and realistic texture. Therefore, hyena hair stitching is often used for embroidering lions, tigers or other beasts, which earns itself the reputation of "shocking thousands of mountains with a roar, and astonishing beasts with standing power".(Yuan Xiaoqin,46)
+Hyena hair stitching is developed on the basis of mixed stitching. Compared with mixed stitching, hyena hair stitching pursues changes in color and realistic texture. Therefore, hyena hair stitching is often used for embroidering lions, tigers or other beasts, which earns itself the reputation of "shocking thousands of mountains with a roar, and astonishing beasts with standing power". (Yuan Xiaoqin, 46)
 '''Unique silk-splitting skills'''
-The most unique aspect of Xiang Embroidery is its silk-splitting skill, which means that the original silk thread is split by fingers to form a thinner one. The reason why it is necessary to split the silk is that the silk thread used in Xiang embroidery is easily-fuzzed velvet thread. Without splitting, the delicacy of Xiang Embroidery cannot be perfectly presented. As early as the period that Hu Lianxian lived, Xiang embroiders came up with the idea of splitting silk in practice. The silk thread obtained by splitting is more exquisite in terms of texture and color. (Yuan Xiaoqin,46)
+The most unique aspect of Xiang Embroidery is its silk-splitting skill, which means that the original silk thread is split by fingers to form a thinner one. The reason why it is necessary to split the silk is that the silk thread used in Xiang embroidery is easily-fuzzed velvet thread. Without splitting, the delicacy of Xiang Embroidery cannot be perfectly presented. As early as the period that Hu Lianxian lived, Xiang embroiders came up with the idea of splitting silk in practice. The silk thread obtained by splitting is more exquisite in terms of texture and color. (Yuan Xiaoqin, 46)
 '''Rich use of colors'''
-Life is the source of inspiration for Xiang Embroidery. So in order to better show the beauty of life and to set people on the created “scene”, the color of embroidery thread must be well selected and properly matched. Through abundant investigation and research work, it can be easily found that Xiang Embroidery applies 745 different colors only in one piece of work. With the various use of threads in different colors, the product can be presented in different ways. (Yuan Xiaoqin,46)
+Life is the source of inspiration for Xiang Embroidery. So in order to better show the beauty of life and to set people on the created “scene”, the color of embroidery thread must be well selected and properly matched. Through abundant investigation and research work, it can be easily found that Xiang Embroidery applies 745 different colors only in one piece of work. With the various use of threads in different colors, the product can be presented in different ways. (Yuan Xiaoqin, 46)
 ===D. Current Situation and Inheritance===