20220630 Culture 5 - Revision history

Liu Shuangying: /* Cross-border trade for the dissemination of ceramic culture */

2022-07-06T15:48:24Z

Cross-border trade for the dissemination of ceramic culture

Liu Shuangying: /* Key words */

2022-07-06T14:24:19Z

Key words

Liu Shuangying: /* Abstract */

2022-07-06T14:22:31Z

Abstract

Liu Shuangying: /* References */

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References

Liu Shuangying: /* Conclusion */

2022-07-06T14:20:21Z

Conclusion

Liu Shuangying: /* Subtitle2 */

2022-07-06T14:19:30Z

Subtitle2

Liu Shuangying: /* The development of ceramic culture in different dynasties */

2022-07-06T14:16:55Z

The development of ceramic culture in different dynasties

Liu Shuangying: /* 英语笔译刘双英 Liu Shuangying 202170081585 */

2022-07-06T14:11:21Z

英语笔译刘双英 Liu Shuangying 202170081585

Liu Shuangying: /* 英语笔译刘双英 Liu Shuangying 202170081585 */

2022-07-06T14:08:30Z

英语笔译刘双英 Liu Shuangying 202170081585

Liu Lele: /* 英语笔译刘乐乐 Liu Lele 202170081584 */

2022-07-06T14:04:34Z

英语笔译刘乐乐 Liu Lele 202170081584

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 Many of the more professional traditional culture is difficult to carry forward and spread out, because its professionalism is too strong, away from people's daily lives, so it is difficult for people to resonate. And ceramic culture is a regional culture, requiring a high degree of professionalism, a lot of professional background knowledge and skills, which can not be easily get obtained by the ordinary people. But the film can lead people together to appreciate the shape, color and historical connotations of Chinese ceramics This is an aesthetic activity that the public can participate in, which is also the advantage of film and television in the dissemination of ceramic culture.
 ======Cross-border trade for the dissemination of ceramic culture======
-In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2020, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
+In a sense, artifacts are much easier to spread across national borders than culture.（Chen Shali 2019, 181）Chinese ceramic has tri-status in society, that is, at the intersection of daily life, commerce and art, and is both a practical object, a commodity, and a work of art and a collection, closely related to social behavior, long-distance trade and upper-class taste, providing the world with a unique perspective on world history. Whether for political purposes or commercial interests, trade has become an important vehicle for Chinese cultural exports, and each ceramic object exported to the outside world carries the ideas and emotions that Chinese culture seeks to express. According to statistics, China ranks first in the world in terms of the value of ceramic production and export each year, with daily-use ceramics accounting for about 70%, artistic porcelain for 65%, and architectural porcelain for 50%.（Wang Fang 2017, 165）
 The famous Italian traveler Mark Polo appreciated Dehua porcelain in his travelogue: "The porcelain are plentiful and beautiful!", and after he returned to his country, the Dehua porcelain was brought back to be treasured in St. Mark's Cathedral in Venice, which was known to the world as "Marco Polo porcelain" and became the first piece of Chinese porcelain arrived in Europe in the written record.
 Another high point in the spread of Chinese ceramic culture in Europe came during Zheng He's voyage to the West during the Ming Dynasty, when large quantities of fine Chinese porcelain entered the European public's view and the message of Chinese culture it carried was widely disseminated. （Tan lijun 2020, 80）On their return voyage, the fleet also carried a large number of foreign goods, including the important pigment for blue and white porcelain, smalt, which was produced in West Asia. The vigorous development of Sino-foreign trade and commerce greatly promoted the circulation of Chinese ceramics around the world and the extraterritorial spread of Chinese culture. It is probably not unfamiliar for the people about the blue and white porcelain, which has been the leading porcelain type in China for more than a century. But the blue and white porcelain is not a completely local product, but the result of the collision between Chinese culture and Islamic culture. The Chinese do not have the national psychological tendency of white and blue, but the merchants in the Persian region of West Asia know that China's Jingdezhen can produce high-quality white porcelain, and they love blue.With the combination of the smalt of Persian region and Jingdezhen quality white porcelain, porcelain decoration in addition to the traditional landscape, figures, flowers and birds, etc., but also adds the decorative patterns with Islamic cultural characteristics, thus creating the world-renowned blue and white porcelain.

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 ===Key words===
 ===Introduction===
 As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）

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 ===Abstract===
 ===Key words===
 ===Introduction===

← Older revision		Revision as of 14:21, 6 July 2022
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	===References===		===References===
		+	[1] Zheng Zhenlong郑振隆. (2020). “一带一路”背景下德化陶瓷文化境外传播路径研究[Study on the Overseas Communication Path of Dehua Ceramic Culture in the Context of "One Belt and One Road”].商场现代化(www.shangchang.com.cn) (13):63-65.
		+	[2] Shao Yu邵毓.(2022). 传统陶瓷元素的符号表征及跨文化传播研究[Study on Symbol Characterization and Intercultural Communication of Traditional Ceramic Elements].中国陶瓷(China Ceramics) ,58(05):86-92.
		+	[3] Zhang Wenjing张文婧.(2020).电影媒介对传统陶瓷文化的传播与保护研究——以《青花》《祭红》为例.[A Study on the Communication and Preservation of Traditional Ceramic Culture by Television and Film Media - A Case Study of "China Flower" and "A Porcelain Vase”]. 中国文艺家(Literati and Artist of China)(11),16-17.
		+	[4] Zou Siyi邹思怿.(2016).关于陶瓷文化及传统技艺的传承与发展[About the Transmission and Development of Ceramic Culture and Traditional Skills]. 知音励志(Bosom Friend Inspiration)(19),218-219.
		+	[5] Lin Rong林蓉.(2022). 景德镇：陶瓷文化“走出去”.[Jingdezhen: Ceramic Culture "Going out"]. 思想政治工作研究[Research on ideological and political work ](06),55-56.
		+	[6] Hong Lin洪琳. (2018). 景德镇陶瓷文化对外传播研究[Research on Foreign Communication of Ceramic Culture in Jingdezhen]. Jinagxi: Jingxi Normal University]. Jiangxi: Jiangxi Normal University江西师范大学.
		+	[7] Jia Binqiang贾兵强.(2017).历史时期中原陶瓷文化传承与发展. [Ceramic Culture Inheritance and Development in the Middle Kingdom during the Historical Period]. 美与时代(Beauty and Times) (06),24-26.
		+	[8] Xioa Weihua肖卫华.(2019).论道文化以陶瓷为载体在海外传播的历史嬗变. [On the Historical Transmutation of Taoist Culture in Overseas Countries with Ceramics as a Carrier]. 景德镇陶瓷(Jingdezhen Ceramics)(06),1-4.
		+	[9] Tan Lijun谭利军.(2020). 模因视域下的中国陶瓷文化传播与发展. [Dissemination and Development of Chinese Ceramic Culture in the Perspective of Meme]. 老区建设(LAOQUJIANSHE)(12),77-82.
		+	[10] Chen Shali, Zhang Chun&Guo Kaixin陈莎莉,张纯 & 郭凯欣.(2019). 全球化视野下陶瓷文化传播对软实力建设的影响研究. [Study on the Impact of Ceramic Culture Communication on Soft Power Building under the Perspective of Globalization]. 广西质量监督导报(Guangxi Quality Supervision Herald)(11),181+180.
		+	[11] Guo Yue&Song lili郭跃 & 宋丽莉.(2022).谈赫哲族陶瓷文化艺术数字化保护与传承. [Talking about the digital preservation and inheritance of Hezhen ceramic culture and art]. 陶瓷科学与艺术(Ceramics Science&Art)(04),31-32+28.
		+	[12] Yang Xiao杨霄.(2020). 陶瓷文化科普MG动画设计研究. [Research on MG animation design of ceramic culture science popularization]. Guangdong: South China University of Technology]华南理工大学.
		+	[13] Shao Changzong邵长宗(2022).文化与技艺的融合：陶瓷教育的传承与发展. [Integration of Culture and Technique: Heritage and Development of Ceramic Education]. 中国文化报(China Culture News),003.
		+	[14] Wang Fang王芳.(2017).文化自信视角下陶瓷文化的传承与发展——以景德镇陶瓷文化为例[The Inheritance and Development of Ceramic Culture from the Perspective of Cultural Confidence—Jingdezhen Ceramic Culture as an Example]. 企业经济(Enterprise Economy)(07),162-166.
		+	[15] Wang Lun&Sun Jingyi王伦 & 孙静艺.(2021).文化自信指引下中国陶瓷故事域外阐述[Telling Chinese Ceramic Stories Overseas under the Guidance of Cultural Confidence]. 中国陶瓷工业(China Ceramic Industry)(06),42-45.
		+	[16] Li Chunning李春宁.(2011).影视媒体在推广景德镇陶瓷文化中的作用. [The Role of Film and Television Media in Promoting Jingdezhen Ceramic Culture]. 商业文化(Commerical Culture)(06),170.
		+	[17] Sun Jingyi&Wang Lun孙静艺 & 王伦.(2016).中国陶瓷故事域外阐述与中国陶瓷文化传播研究. [A Study on the Extraterritorial Exposition of Chinese Ceramic Stories and the Communication of Chinese Ceramic Culture]. 山东陶瓷(Shandong Ceramics)(05),30-33.
		+	[18] Li Tao&Xu Siyuan李涛 & 许思远.(2021).中国陶瓷海外传播及文明共同体的符号对话——基于丝绸之路考古的研究. [Research on the Symbol Dialogue of Chinese Ceramics Overseas Dissemination and Community of Shared Civilization—Based on the Archaeology of the Silk Road]. 华夏传播研究(Huaxia Communication Research)(01),69-81.

	==英语笔译刘婷 Liu Ting 202170081586==		==英语笔译刘婷 Liu Ting 202170081586==

← Older revision		Revision as of 14:20, 6 July 2022
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	===Conclusion===		===Conclusion===
		+	Chinese ceramic culture has a long history, from the beginning of the Neolithic period of household ceramics, but then with increasingly rich types of ceramics, and ceramic skills are more and more exquisite, glaze colors are also more and more rich, creating a lot of prestigious ceramic products. Film and television have brought ceramic culture to the audience in a more interesting and intuitive way, making it easier for ceramic culture to enter the hearts and minds of the public. Transnational trade in ceramics allows Chinese ceramics to go beyond the borders of China, allowing people around the world to experience and appreciate Chinese ceramic culture and its beauty together. Chinese ceramics culture is profound and long-standing, and is a representative and symbol of the soft power of traditional Chinese culture. From the perspective of spiritual culture, ceramic culture contains a rich social connotation, and different periods of social development represent different Chinese cultural spirits. Ceramic culture has been continuously inherited, developed and innovated in the long history. Nowadays, in the new century when Chinese and Western cultures are colliding with each other, how to protect these traditional cultural resources and pass them on permanently requires the efforts of all people. To maintain the vitality and vitality of Chinese culture, we need to take the initiative to go out and interact with the excellent cultures of the world's ethnic groups. Continuously learning, borrowing and absorbing the excellent cultures of the world's ethnic groups is a must for the great rejuvenation of the Chinese nation.
		+	Promoting the dissemination of ceramic culture helps the innovative development of ceramic culture and art in the new era. For ceramic culture to develop in the long run, it is necessary to not only keep the tradition, but also to focus on the actual needs of modern society and achieve innovation. The creative transformation and innovative development of traditional ceramic culture will enable the Chinese nation to participate in world cultural exchanges with a stronger cultural confidence.
		+
	===References===		===References===

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 During the Qing Dynasty, ceramics made great progress in both modeling and decorative techniques, and the creation of famille rose porcelain in Jingdezhen was influenced by enameling. The low firing temperature of famille rose porcelain also took use of the rendering painting method of Chinese painting, making the ceramic floral surface pink and soft. The brightly colored famille rose porcelain produced in the Qing Dynasty reflects the great enthusiasm of the people in this period.
-===Subtitle2===
+===The spread of ceramic culture===
 ===Conclusion===
 ===References===

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 ===The development of ceramic culture in different dynasties===
 Ceramic culture has been an important part of Chinese more than 5,000 years culture, and ceramics have been produced for thousands of years since the ancient times.（Shao Changzong 2022, 01）Ceramic culture began in the Neolithic period, and each historical period has shown different characteristics. During the Tang Dynasty, there is the famous " Tang Tri-Color Glazed Ceramics " ceramic culture, which reflects the characteristics of the pottery skills of the Tang Dynasty. During the Yuan Dynasty, there is the famous "Jingdezhen blue and white porcelian" ceramic culture, and many people know about Chinese ceramics because of the blue and white porcelian. Black pottery, colored pottery, etc., all reflect the characteristics of unique aesthetic skills. Just like our modern life, the things that are popular in different periods will be different, which to a certain extent can also reflect the current social customs and mainstream thinking, so the different types and colors of ceramics presented in different historical periods reflect the ceramic culture, but also reflect the thinking of the people in the society at that time.
 ===Subtitle2===

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 ==英语笔译	刘双英	Liu Shuangying	202170081585==
-  '''The Transmission of Chinese Folk Art'''
+  '''The Devlopment and Dissemination of Chinese Ceramic Culture'''
 ===Abstract===
 ===Key words===
 ===Introduction===
-China has a long history and culture of the Chinese nation for five thousand years, resulting in a lot of folk art. They are rich and colorful, diverse in content, with a strong nationalist color, thus demonstrating the long history and profound culture of our Chinese folk art. However, with the rise of the era of large-scale industrialization, a lot of mechanized production has replaced the original manual production, and some traditional production techniques and traditional artistic creation have been gradually lost. How to protect the inheritance of Chinese folk art is a problem that we will think about. Today, in the new era, how to protect the development of Chinese folk art is an important link in the sustainable development of Chinese traditional art. China is a multi-ethnic country, and each nation has its own cultural characteristics and cultural characteristics. National culture needs time baptism and historical development, so thousands of years of history and culture is very precious. We should not only pay attention to the protection of traditional folk art. Moreover, we should carry forward and inherit our folk art and culture. We should get more people to know them.
+As China's national strength continues to rise, its economy is growing rapidly, but traditional Chinese culture has not yet been well spread. China was one of the first countries to make pottery, and the birthplace of porcelain. From the current archaeological excavations, the earlist ceramics may be the porcelain products created by primitive people when they found that clay was pounded into mud and coated on a container consisting of grass and wood, and the mud would no longer dissolve in water after firing, and soon they started learning to make objects using only clay.(Guo Yue&Song Lili 2022, 31）
-===Subtitle1===
+The ceramic culture explored in this paper has a long history, but with the development of the times, today's Chinese ceramic culture is far less flourish than in the past. At a time when the country is vigorously promoting cultural outreach and enhancing cultural confidence across the board, it is especially important to reinvigorate ceramic culture and strengthen the development and dissemination of Chinese ceramic culture. People from other countries in the world do not yet know much about traditional Chinese culture, especially in some specialized fields, such as the pottery-making techniques in ceramic culture, and sometimes the knowledge and terminology in these fields are not well understood by our own Chinese laymen as well, who only know some very basic and superficial things. Foremostly, we have to understand its intrinsic cultural connotation and unique historical value before we can plan for its way out and prepare for its revitalization. Therefore, the dissemination of these traditional cultures requires more effort, time and energy to get out of the country, catering to the strategy of "Chinese culture going out" as stated by General Secretary Xi Jinping, which is also of great practical significance to the Chinese dream of the great rejuvenation of the Chinese nation. Only when the economy and culture develop together, and the most characteristic industries of the nation are exported to the outside world, so that more people can understand its unique characteristics, can a country be truly strong and respected by the world.
 ===Subtitle2===
 ===Subtitle2===

20220630 Culture 5 - Revision history

Liu Shuangying: /* Cross-border trade for the dissemination of ceramic culture */

Liu Shuangying: /* Key words */

Liu Shuangying: /* Abstract */

Liu Shuangying: /* References */

Liu Shuangying: /* Conclusion */

Liu Shuangying: /* Subtitle2 */

Liu Shuangying: /* The development of ceramic culture in different dynasties */

Liu Shuangying: /* 英语笔译 刘双英 Liu Shuangying 202170081585 */

Liu Shuangying: /* 英语笔译 刘双英 Liu Shuangying 202170081585 */

Liu Lele: /* 英语笔译 刘乐乐 Liu Lele 202170081584 */

Liu Shuangying: /* 英语笔译刘双英 Liu Shuangying 202170081585 */

Liu Shuangying: /* 英语笔译刘双英 Liu Shuangying 202170081585 */

Liu Lele: /* 英语笔译刘乐乐 Liu Lele 202170081584 */