User:Shu Lin2 - Revision history

Shu Lin2: /* Final Paper(English Version) */

2024-12-31T08:41:05Z

Final Paper(English Version)

Shu Lin2: /* Final Paper(English Version) */

2024-12-31T08:37:49Z

Final Paper(English Version)

Shu Lin2 at 08:36, 31 December 2024

2024-12-31T08:36:07Z

Shu Lin2: /* Final Paper */

2024-12-31T08:28:18Z

Final Paper

Shu Lin2: /* Final Paper */

2024-12-31T08:25:25Z

Final Paper

Shu Lin2: /* Final Paper */

2024-12-31T08:24:35Z

Final Paper

Shu Lin2: /* Final Paper */

2024-12-31T08:20:51Z

Final Paper

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Shu Lin2: /* Final Paper */

2024-12-31T08:16:06Z

Final Paper

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Shu Lin2 at 07:54, 31 December 2024

2024-12-31T07:54:14Z

Shu Lin2 at 03:40, 31 December 2024

2024-12-31T03:40:06Z

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 I hereby guarantee that I have not used the help of AI to write my final paper in this course.
+==期末论文(中文版)==
 '''中国传统首饰：步摇'''

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 In the Jin dynasty (266–420 CE), the use of the Bu Yao expanded beyond the empress to include other imperial concubines (Ji Xiajin, 2023). During the Southern and Northern Dynasties (420–589 CE), gold Bu Yao became widespread, and its usage further broadened. Noblemen and women alike began wearing it, although the designs were simpler compared to those of the imperial court.
 Throughout the Han, Wei, and Southern and Northern Dynasties, the Bu Yao became increasingly popular and was loved by both the Han Chinese and the Xianbei people. For the Han people, who valued rituals, the Bu Yao was a symbol of ceremonial status and nobility, a prized possession. For the Xianbei peoples and other nomadic tribes, who valued gold, the Bu Yao symbolized wealth and social standing, making it a luxurious item. As a result, many Bu Yao from this period were crafted from gold, and the ornament became known as the “gold Bu Yao” (Chen Junnan, 2022). During this time, the main styles of Bu Yao included the Bu Yao flower and the Bu Yao crown. Additionally, designs with multiple pendants resembling tassels, known as “dangling Bu Yao,” became popular. The Bu Yao thus evolved into a richly varied and artistically distinctive ornament, undergoing continuous development and innovation.
 During the Tang dynasty(618–907 CE), a period marked by economic prosperity, well-established institutions, and an open social atmosphere, the use of the Bu Yao expanded significantly. In this era, the Bu Yao was predominantly of the Han style, while tree-shaped Bu Yao crowns gradually fell out of favor and eventually disappeared in the history. Tang aristocratic women favored elegant and luxurious styles, which led to increasingly intricate and refined headpieces. The materials and designs of the Bu Yao became more lavish, incorporating precious metals such as gold and silver, as well as gemstones and jade. The design became more complex, with elements like chains and pendants adding a sense of movement. As the wearer moved, the Bu Yao swayed, enhancing the graceful and elegant aura of women. Bai Juyi’s Song of Everlasting Regret vividly describes the golden Bu Yao worn by the imperial consort Consert Yang: “With cloud-like tresses and flower-like face, she wore a golden Bu Yao, and spent warm spring nights beneath the lotus-patterned curtains,” highlighting her extraordinary beauty and grace.
 In the Song and Yuan dynasties(960–1368), the Bu Yao inherited the traditions of the Tang dynasty but moved away from its ornate complexity. Instead, the Bu Yao became simpler, more understated, and refreshingly minimalist, gaining widespread popularity among women. During the Song dynasty, innovation was introduced to the traditional Tang Bu Yao design. Dragon and phoenix motifs were added to the crowns, and the design of the Bu Yao, with beads held in the mouth of the ornament, became a key component of the phoenix crown, blending seamlessly with the overall headpiece. This shift reflected the era’s aesthetic preferences, emphasizing elegance and balance while retaining the symbolism of power and virtue.
 Since the Ming and Qing dynasties, references to the Bu Yao have become less common, but this doesn’t mean it fell out of fashion. Rather, its name evolved, and it gradually came to be known by other terms such as  tassel and “mo li chan” (jasmine tremble). In ''Dream of the Red Chamber'', the “Five Phoenix Hanging Pearl Hairpin” worn by Wang Xifeng is actually a phoenix-shaped Bu Yao hairpin, a form of Tang-style Bu Yao. From the Ming and Qing periods onward, the Bu Yao became popular across all social classes, from the imperial court to the common folk. Artisans of these dynasties, as custodians of traditional craftsmanship, fused the finest techniques from earlier periods, significantly influencing the era’s evolving aesthetic tastes. During this time, Bu Yao craftsmanship reached its zenith, with more elaborate designs and intricate patterns.

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 I talked with Mira about the colorful roses today, and I like the purple rose most.
-==Final Paper==
-'''Chinese traditional ornament: Bu Yao'''
+==Final Paper(English Version)==
 '''Chinese traditional ornament: Bu Yao'''
@@ Line 200: / Line 199: @@
 In the Jin dynasty (266–420 CE), the use of the Bu Yao expanded beyond the empress to include other imperial concubines (Ji Xiajin, 2023). During the Southern and Northern Dynasties (420–589 CE), gold Bu Yao became widespread, and its usage further broadened. Noblemen and women alike began wearing it, although the designs were simpler compared to those of the imperial court.
 Throughout the Han, Wei, and Southern and Northern Dynasties, the Bu Yao became increasingly popular and was loved by both the Han Chinese and the Xianbei people. For the Han people, who valued rituals, the Bu Yao was a symbol of ceremonial status and nobility, a prized possession. For the Xianbei peoples and other nomadic tribes, who valued gold, the Bu Yao symbolized wealth and social standing, making it a luxurious item. As a result, many Bu Yao from this period were crafted from gold, and the ornament became known as the “gold Bu Yao” (Chen Junnan, 2022). During this time, the main styles of Bu Yao included the Bu Yao flower and the Bu Yao crown. Additionally, designs with multiple pendants resembling tassels, known as “dangling Bu Yao,” became popular. The Bu Yao thus evolved into a richly varied and artistically distinctive ornament, undergoing continuous development and innovation.

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 During the Han dynasty (202 BC–220 CE), the Bu Yao became an integral part of China’s traditional attire system, evolving into a ceremonial ornament worn by empresses during temple visits or ancestral rites. It symbolized the rank and status of female members of the imperial family. ''The Book of the Later Han'' records the use of the Bu Yao as follows: “When the empress enters the temple, the Bu Yao is made of gold in the shape of a mountain peak, with white pearls strung together like osmanthus branches, adorned with eight symbols of nobility and nine types of jewels, including the bear, tiger, red bear, celestial deer, and symbols of protection.” Additionally, “Empress Dowager He Xi bestowed a red sash to Lady Feng, who had no Bu Yao or jade pendants, and granted her one of each." This shows that during this period, the Bu Yao was strictly reserved for the empress. Other imperial concubines could only wear it if granted as a reward, and commoners were not allowed to wear such ornaments.
-[[File:Example.jpg]]
+[[File:BuYao.png]]
 In the Jin dynasty (266–420 CE), the use of the Bu Yao expanded beyond the empress to include other imperial concubines (Ji Xiajin, 2023). During the Southern and Northern Dynasties (420–589 CE), gold Bu Yao became widespread, and its usage further broadened. Noblemen and women alike began wearing it, although the designs were simpler compared to those of the imperial court.

@@ Line 196: / Line 196: @@
 During the Han dynasty (202 BC–220 CE), the Bu Yao became an integral part of China’s traditional attire system, evolving into a ceremonial ornament worn by empresses during temple visits or ancestral rites. It symbolized the rank and status of female members of the imperial family. ''The Book of the Later Han'' records the use of the Bu Yao as follows: “When the empress enters the temple, the Bu Yao is made of gold in the shape of a mountain peak, with white pearls strung together like osmanthus branches, adorned with eight symbols of nobility and nine types of jewels, including the bear, tiger, red bear, celestial deer, and symbols of protection.” Additionally, “Empress Dowager He Xi bestowed a red sash to Lady Feng, who had no Bu Yao or jade pendants, and granted her one of each." This shows that during this period, the Bu Yao was strictly reserved for the empress. Other imperial concubines could only wear it if granted as a reward, and commoners were not allowed to wear such ornaments.
-<img src="image.jpg" alt="Description">
 In the Jin dynasty (266–420 CE), the use of the Bu Yao expanded beyond the empress to include other imperial concubines (Ji Xiajin, 2023). During the Southern and Northern Dynasties (420–589 CE), gold Bu Yao became widespread, and its usage further broadened. Noblemen and women alike began wearing it, although the designs were simpler compared to those of the imperial court.
 Throughout the Han, Wei, and Southern and Northern Dynasties, the Bu Yao became increasingly popular and was loved by both the Han Chinese and the Xianbei people. For the Han people, who valued rituals, the Bu Yao was a symbol of ceremonial status and nobility, a prized possession. For the Xianbei peoples and other nomadic tribes, who valued gold, the Bu Yao symbolized wealth and social standing, making it a luxurious item. As a result, many Bu Yao from this period were crafted from gold, and the ornament became known as the “gold Bu Yao” (Chen Junnan, 2022). During this time, the main styles of Bu Yao included the Bu Yao flower and the Bu Yao crown. Additionally, designs with multiple pendants resembling tassels, known as “dangling Bu Yao,” became popular. The Bu Yao thus evolved into a richly varied and artistically distinctive ornament, undergoing continuous development and innovation.

← Older revision		Revision as of 07:54, 31 December 2024
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	==Dec. 19, 2024==		==Dec. 19, 2024==
	I talked with Mira about the colorful roses today, and I like the purple rose most.		I talked with Mira about the colorful roses today, and I like the purple rose most.
		+
		+	==Final Paper==
		+	'''Chinese traditional ornament: Bu Yao'''

← Older revision		Revision as of 03:40, 31 December 2024
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−	<nowiki></nowiki>大家好，我是舒琳，湖南师范大学外国语学院翻译专业毕业生，目前正攻读英语笔译硕士学位，已进入研究生二年级。我对语言和文化有着浓厚的兴趣，并且一直致力于提高自己的语言技能和文化理解能力。在学习过程中，我不仅系统学习研究翻译理论，还积极参与实践，以期更好地理解和传播中国文化。我期待在课程中与大家交流，共同探索中国语言与文化的丰富内涵。	+	<nowiki></nowiki>Hello everyone, my name is Shu Lin, and I am a graduate of the Foreign Studies College of Hunan Normal University, majoring in Translation. I am currently pursuing a master's degree in English Translation and have entered my second year of graduate studies. I have a strong interest in languages and cultures, and I have been committed to improving my language skills and cultural understanding. During my studies, I have not only systematically studied translation theories but also actively participated in practice to better understand and disseminate Chinese culture. I look forward to communicating with you in the course and exploring the rich connotations of Chinese language and culture together.
		+

	==Nov. 2, 2024==		==Nov. 2, 2024==