Difference between revisions of "20201215 cultexam 1"
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===The History=== | ===The History=== | ||
| − | + | What is Chinese astrology? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements water, wood, fire, earth, and metal as well as the twelve animals, representing each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. Where the source is coming from ? | |
| − | ===The Five Elements | + | ===The Five Elements and Yin/Yang=== |
| − | Chinese believe that the five basic elements, | + | Chinese believe that the five basic elements, wood, fire, earth, metal, and water form everything in the Universe. As a fundamental part of Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A conducive interrelationship means that these five elements will produce one another and help nourish each other. We get fire from wood because fire is produced by burning wood. We get earth from fire because fire can burn everything into ashes (earth). We get metal from earth because all metal has to be extracted from the earth. We get water from metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood. |
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| − | A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls | + | A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life. |
| − | === | + | ===The forces of Yin / Yang=== |
Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life. | Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life. | ||
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===Spring Festival Couplets=== | ===Spring Festival Couplets=== | ||
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211). | Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211). | ||
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Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75). | Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75). | ||
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The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34). | The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34). | ||
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There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83). | There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83). | ||
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===References=== | ===References=== | ||
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4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival. | 4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival. | ||
| − | ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - 英语笔译== | + | ==Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - MTI 英语笔译== |
[[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]] | [[File:Guzheng.jpg|250px|thumb|left|Guzheng in the shop, photo by Christopher Hsia. Click[https://commons.m.wikimedia.org/wiki/File:Even_more_Guzhengs_(%E5%8F%A4%E7%AE%8F)_cropped.jpg#mw-jump-to-license]for original source.]] | ||
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*Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83. | *Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. ''戏剧之家'' Drama House (14) 83. | ||
*Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198. | *Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. ''才智'' Talents (24) 197-198. | ||
| − | *Wang Xiaohong | + | *Wang Xiaohong, Gu Haijun 王晓红, 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. ''戏剧之家'' Drama House (23) 69. |
===Terms and Expressions=== | ===Terms and Expressions=== | ||
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12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》). | 12. ''Harvest Celebration'' (''Qing Feng Nian'' 《庆丰年》), ''Fighting the Typhoon'' (''Zhan Tai Feng'' 《战台风》) and ''Song of the Fishermen'' (''Yu Zhou Chang Wan'' 《渔舟唱晚》). | ||
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| + | --[[User:Chen Han|Chen Han]] ([[User talk:Chen Han|talk]]) 11:36, 21 December 2020 (UTC) | ||
==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译== | ==Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译== | ||
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Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1) | Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1) | ||
| − | [[File: 21.jpg| | + | [[File: 21.jpg|300px|thumb|left|Cixin Liu. ILLUSTRATION: ZACHARY BAKO FOR THE WALL STREET JOURNAL. Click [https://www.zacharybako.com/]for original source.]] |
Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352) | Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352) | ||
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| − | [[File:22.jpg| | + | [[File:22.jpg|300px|thumb|left|Chen Qiufan photographed in Beijing by Gilles Sabrié. Click [https://www.gsabrie.com/] for original source.]] |
Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.(Chen Qiufan,Waste Tide, 2019,3) | Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.(Chen Qiufan,Waste Tide, 2019,3) | ||
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====3.Rebecca F. Kuang (匡灵秀)==== | ====3.Rebecca F. Kuang (匡灵秀)==== | ||
| − | [[File:23.jpg| | + | [[File:23.jpg|250px|thumb|left|Rebecca F. Kuang. Click [https://www.instagram.com/kuangrf/?hl=ru] for original source.]] |
When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Kuang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.(Rebecca F.Kuang, The Poppy War,2018,4) | When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Kuang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.(Rebecca F.Kuang, The Poppy War,2018,4) | ||
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4. The plot is largely based on the history of China in the middle of the 20th century. | 4. The plot is largely based on the history of China in the middle of the 20th century. | ||
| − | ==Stilts - Chen Yongxiang 陈永相 202070080582 英语笔译== | + | ==Stilts - Chen Yongxiang 陈永相 202070080582 MTI 英语笔译== |
[[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&fm=26&gp=0.jpg] for original source.]] | [[File:stilts.jpg|250px|thumb|left|Stilts presentation during the Miliangtun Stilt Festival, image from Baike. Click [http://img3.imgtn.bdimg.com/it/u=2060438651,2837589998&fm=26&gp=0.jpg] for original source.]] | ||
===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts=== | ===Chinese Intangible Cultural Heritage — Miliangtun Village Stilts=== | ||
| − | <center>Chen Yongxiang 陈永相 202070080582 英语笔译</center> | + | <center>Chen Yongxiang 陈永相 202070080582 MTI 英语笔译</center> |
====Introduction==== | ====Introduction==== | ||
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--[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 05:20, 21 December 2020 (UTC) | --[[User:Chen Yongxiang|Chen Yongxiang]] ([[User talk:Chen Yongxiang|talk]]) 05:20, 21 December 2020 (UTC) | ||
| − | ==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 | + | ==Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 MTI英语笔译== |
===Introduction=== | ===Introduction=== | ||
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Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77) | Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77) | ||
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Zhou Zhenfu 周振甫.(2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:38, 21 December 2020 (UTC) | Zhou Zhenfu 周振甫.(2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.--[[User:Gan Fengyu|Gan Fengyu]] ([[User talk:Gan Fengyu|talk]]) 01:38, 21 December 2020 (UTC) | ||
| − | ==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - | + | ==Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - MTI 英语笔译== |
===1. A Brief Introduction=== | ===1. A Brief Introduction=== | ||
[[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&src=srp&correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&ancestor=list&cmsid=b749b87b72b5c9427d6560a39d41548f&cmras=6&cn=0&gn=0&kn=0&crn=0&bxn=0&fsn=60&cuben=0&pornn=0&manun=0&adstar=0&clw=247#id=22b2926be2637560e928bbc9318219fb&currsn=0&ps=58&pc=58]for original source.]] | [[File:1.jpg|250px|thumb|left|The structure of Pipa. image from 360Baike. Click[https://image.so.com/view?q=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&src=srp&correct=%E7%90%B5%E7%90%B6%E7%BB%93%E6%9E%84%E5%9B%BE%E7%89%87&ancestor=list&cmsid=b749b87b72b5c9427d6560a39d41548f&cmras=6&cn=0&gn=0&kn=0&crn=0&bxn=0&fsn=60&cuben=0&pornn=0&manun=0&adstar=0&clw=247#id=22b2926be2637560e928bbc9318219fb&currsn=0&ps=58&pc=58]for original source.]] | ||
| − | Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of | + | Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocals. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called no. 1 in plucked instruments. (360baike 2020) |
===2.The Development of Pipa=== | ===2.The Development of Pipa=== | ||
| − | The development of | + | The development of Chinese pipa has gone through four stages: first, the Qu Xiang pipa (curving-neck pipa）was introduced into China in the Eastern Jin Dynasty and became an important musical instrument. In the second stage, the art of pipa reached its peak in Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Sinization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade and expand the range. In the fourth stage, in Ming and Qing Dynasties, large-scale pipa divertimentoes were further developed. (Deng Sijia 2020,10) |
| − | During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the | + | During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the South, especially to South of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong Western characteristics. In the Western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which was created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its unchained and heroic way of playing. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. (Zhou Xianshun, Zhang Yuying 2018, 16) |
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) | During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16) | ||
| − | During | + | During Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16) |
| − | During | + | During Ming and Qing Dynasties, the way people played pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as to the style of pipa playing. What’s more, the studies on pipa mostly were conducted by scholars, thus the pipa playing took on literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty. (Zhou Xianshun, Zhang Yuying 2018, 16) |
===3.Pipa Schools and Their Chracteristics=== | ===3.Pipa Schools and Their Chracteristics=== | ||
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Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset(夕阳箫鼓)", "Zhao Jun Going Abroad(昭君出塞)", "Autumn Moon over Han Palace(汉宫秋月)", "The Lofty Moon(月儿高)", "The Green Lotus(青莲乐府)", "Whisper from Pipa(琵琶语)", "Frontier Songs(塞上曲)" and so on. | Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset(夕阳箫鼓)", "Zhao Jun Going Abroad(昭君出塞)", "Autumn Moon over Han Palace(汉宫秋月)", "The Lofty Moon(月儿高)", "The Green Lotus(青莲乐府)", "Whisper from Pipa(琵琶语)", "Frontier Songs(塞上曲)" and so on. | ||
| − | Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow(阳春白雪)", "High Mountain and Flowing Water(高山流水)", "Dragon Boat(龙船)", "Flute and Drum at Sunset(夕阳箫鼓)" and so on. | + | Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow(阳春白雪)", "High Mountain and Flowing Water(高山流水)", "Dragon Boat(龙船)", "Flute and Drum at Sunset(夕阳箫鼓)" and so on. (Cheng Xuange 2020:51-52) |
===References=== | ===References=== | ||
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*弹拨乐器—plucked instruments | *弹拨乐器—plucked instruments | ||
| − | * | + | *汉化—Sinization |
*套曲—divertimentoes | *套曲—divertimentoes | ||
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=== Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === | === Huli-jing figure in Chinese mythology and its analogs in Japan and Korea === | ||
| − | The topic of werewolves | + | The topic of werewolves is perhaps one of the most discussed and studied in the XXI century. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli-jing or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude towards Huli-jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale? (Xu Zhonglin 1992, 57) |
[[File:fox.jpg|400px|thumb|left|Nine Tailed Fox by ARIELAkris, image from DeviantArt. Click [https://www.deviantart.com/arielakris/art/Nine-Tailed-Fox-384738575]for original source.]] | [[File:fox.jpg|400px|thumb|left|Nine Tailed Fox by ARIELAkris, image from DeviantArt. Click [https://www.deviantart.com/arielakris/art/Nine-Tailed-Fox-384738575]for original source.]] | ||
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'''1. Huli-jing (狐狸精) in China''' | '''1. Huli-jing (狐狸精) in China''' | ||
| − | First, we need to recreate the image of the Huli-Jing and | + | First, we need to recreate the image of the Huli-Jing and how it was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but also an extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu. People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. Official authorities of ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult. During Song dynasty reign the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor. (Kang Xiaofei 2006, 206) |
| − | Perhaps the most striking examples of where the changed image of the Huli Jing | + | Perhaps the most striking examples of where the changed image of the Huli Jing can be found in the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears. The theme of fatal love in the stories of werefoxes appears as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment. (Pu Song-ling 2008, 187) |
| − | + | In the 21st century, the image of Huli Jing as a mythological character was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries. A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled "Good Hunt". The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people. (Ken Liu 2012, 202.) | |
| − | In addition to literary works, Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on | + | In addition to literary works, the Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on a story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox. Besides, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what the character of Huli Jing should be. (Wikipedia 2020a) |
| − | Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are | + | Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are a family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil. (Wikipedia 2020b) |
| − | To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further, the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” | + | To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further, the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” - all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love. The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features. (Pu Songling 2008, 141) |
'''2. Kitsune (キツネ) in Japan''' | '''2. Kitsune (キツネ) in Japan''' | ||
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'''3. Kumiho (구미호) in Korea''' | '''3. Kumiho (구미호) in Korea''' | ||
| − | Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is | + | Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is, to be able to transform into a beautiful girl. Although in myths there are also references to becoming a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. Kumiho can transform into a human if one of three conditions is met: she refrains from eating corpses and killing people for a thousand days; the person who recognized her as Kumiho when she is in human form will keep this secret for ten years; Kumiho will eat the liver of thousands of men over a thousand years (if this does not happen, it will disintegrate into many small bubbles); the first condition (then reduced to a hundred days) is sometimes added to the offer of help to any person who will need it. (Johnson 1974, 37). |
| − | |||
===Terms and Expressions=== | ===Terms and Expressions=== | ||
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===References=== | ===References=== | ||
| − | *Bathgate, Michael 迈克尔·巴斯盖特 (2004). The Fox's Craft in Japanese Religion and Folklore: Shapeshifters, Transformations, and Duplicities. | + | *Bathgate, Michael 迈克尔·巴斯盖特 (2004). The Fox's Craft in Japanese Religion and Folklore: Shapeshifters, Transformations, and Duplicities. 狐狸在日本宗教和民间传说中的手工艺：变身者，转变和重复. // Routledge. -2004. - 190. |
| − | *Pu Song-ling 蒲松龄. (2008). Fox charm. Monks-wizards. | + | *Johnson T. W. 约翰逊 (1974). Far Eastern Fox Lore 远东狐狸传说 // Asian Folklore Studies, Vol. 33. No.1. 亚洲民间传说研究，第 33.第一. - 1974. - 35–68. |
| + | |||
| + | *Pu Song-ling 蒲松龄. (2008). Fox charm. Monks-wizards. 狐狸的魅力. 僧侣向导. // Eastern literature 东方文学. – 2008. - 280. | ||
*Kang Xiaofei 康小飞. (2006). The cult of the fox: Power, gender, and popular religion in late imperial and modern China. 狐狸的崇拜：帝国晚期和近代中国//Columbia University Press 哥伦比亚大学出版社的权力，性别和大众宗教. – New York 纽约, 2006. – 269. | *Kang Xiaofei 康小飞. (2006). The cult of the fox: Power, gender, and popular religion in late imperial and modern China. 狐狸的崇拜：帝国晚期和近代中国//Columbia University Press 哥伦比亚大学出版社的权力，性别和大众宗教. – New York 纽约, 2006. – 269. | ||
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*Wikipedia 维基百科. (2020b). - Legend of Nine Tails Fox 青丘狐传说 - https://en.wikipedia.org/wiki/Legend_of_Nine_Tails_Fox | *Wikipedia 维基百科. (2020b). - Legend of Nine Tails Fox 青丘狐传说 - https://en.wikipedia.org/wiki/Legend_of_Nine_Tails_Fox | ||
| − | |||
| − | |||
===Questions=== | ===Questions=== | ||
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[[File:hanzi.jpg|200px|thumb|left|hanzi, image from Baike. Click [...] for original source.]] | [[File:hanzi.jpg|200px|thumb|left|hanzi, image from Baike. Click [...] for original source.]] | ||
| − | Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written | + | Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written languages in the world, dating back approximately five thousand years. However, script developed a few thousand years earlier in Mesopotamia (today's Iraque) and Ancient Egypt. According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003） |
===Evolution of Chinese characters=== | ===Evolution of Chinese characters=== | ||
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====Oracle bone script==== | ====Oracle bone script==== | ||
| − | Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). | + | Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). They was first excavated by local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones). |
====Bronze script==== | ====Bronze script==== | ||
| − | In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear | + | In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear characters we use today.（Yu Xinjia and Xue Ruijia，2005） |
====Seal script==== | ====Seal script==== | ||
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. | Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. | ||
| − | The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters. | + | The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（Wang Enquan 2006) |
===Modern characters=== | ===Modern characters=== | ||
====Clerical script==== | ====Clerical script==== | ||
| − | After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late | + | After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang. |
| − | From the clerical change to the present, it has been more than 2,200 years. This | + | From the clerical change to the present, it has been more than 2,200 years. This period in the historical development of Chinese characters is still called "modern" because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization. (Wang Enquan 2006) |
====Regular script==== | ====Regular script==== | ||
| − | Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū) appeared at the end of the Eastern Han Dynasty (25–220)and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people | + | Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū). This appeared at the end of the Eastern Han Dynasty (25–220) and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage. |
| − | |||
===Formation of Chinese characters=== | ===Formation of Chinese characters=== | ||
====Pictograms==== | ====Pictograms==== | ||
| − | Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree." | + | Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree."（Nie Yan 2005) |
====Pictophonetic compounds==== | ====Pictophonetic compounds==== | ||
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Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005） | Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005） | ||
| − | Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin) | + | Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin 1998) |
| + | |||
| + | ===Modern reforms=== | ||
| + | There were several attempts to simplify Chinese characters, including reforms after the Founding of the People's Republic of China. The idea to abandon Chinese characters and to use Pinyin instead, was not realized. However, children learn their first characters with the help of Hanyu Pinyin, a transcription script made from the Latin alphabet. | ||
| − | === | + | ===Chinese Characters and the Information Age=== |
| + | |||
| + | Nowadays, with the continuous development of digitization, Chinese characters have been effectively imported into various electronic media. In a sense, Chinese characters in the electronic age are also facing reform, and there will be more advanced means to promote the role of Chinese characters in the electronic information age, so that they can better serve the public. | ||
| + | Chinese characters are undoubtedly China's most beautiful and valuable asset, representing not only a national spirit, but also the roots of the Chinese nation, the soul of China. As Mr. Yu Guangzhong once said, as long as the soul of Cangjie remains intact, the image, the magnet-like centripetal force, is bound to exist, and the memories and hopes of our ancestors will have a new anchor.（Yi Lixin 2004） | ||
| − | |||
===Terms and expressions=== | ===Terms and expressions=== | ||
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7.Cang Jie 仓颉 | 7.Cang Jie 仓颉 | ||
| − | |||
8.Clerical script 楷书 | 8.Clerical script 楷书 | ||
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1. How many Chinese characters are there? | 1. How many Chinese characters are there? | ||
| − | 2. How many letters are in the Chinese | + | 2. How many letters are in the Chinese pinyin? |
3. How many formations of Chinese characters? What are they? | 3. How many formations of Chinese characters? What are they? | ||
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===References=== | ===References=== | ||
| − | 1. | + | 1.Wang Xianchun王显春. 汉字的起源[M]. 学林出版社, 2002. |
| − | 2. | + | 2.Liu Youxin刘又辛. "关于汉字发展史的几个问题(上)." 语文建设 12(1998):34-37. |
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188 | 3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188 | ||
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4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005. | 4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005. | ||
| − | + | 5.Yi Lixin伊立新. 论汉字与中国文化的相互影响[J]. 沈阳建筑大学学报(社会科学版), 2004, 6(001):58-60. | |
| + | 6.Wang Enquan王恩全. 中国汉字的形成及演变规律之考辨[J]. 沈阳农业大学学报(社会科学版), 2006(03):551-553. | ||
| + | 7.Nie Yan聂焱. "论汉字造字法的思维模式." 湘南学院学报 03(2005):63-67+81. | ||
| + | --[[User:Gudongfang|Gudongfang]] ([[User talk:Gudongfang|talk]]) 12:28, 21 December 2020 (UTC)Gu dongfang | ||
| + | |||
| + | ==Handcraft - Chinese Knots - Guan Qinqing 管钦清 - MTI 英语笔译== | ||
| + | <center>管钦清，202070080586.</center> | ||
===A.Chinese Knots=== | ===A.Chinese Knots=== | ||
| − | [[File:Chinese Knots.jpg|thumb|right| | + | [[File:Chinese Knots.jpg|300px|thumb|right|Click [https://baike.so.com/doc/1207058-1276830.html]for original source.]] |
====1.A Brief Introduction about Chinese Knots==== | ====1.A Brief Introduction about Chinese Knots==== | ||
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There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥 | There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥 | ||
| − | 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling | + | 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125） |
| − | |||
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. | Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot. | ||
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===Introduction=== | ===Introduction=== | ||
| − | The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology | + | The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology (Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common. |
===A. Panku Created the World=== | ===A. Panku Created the World=== | ||
| − | In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other | + | In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other words, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, became a big form of ball and finally gave birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and tried to calm down the chaos. Therefore, the sky and the earth were created. His body was well-formed with giant muscles and the size of his body was about ninety thousand li (about thirty thousand miles). (Su Shuyang 2010, 4) |
| − | At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands | + | At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands farer away. As time was passing, the sky and earth become more distant from each other and the size of Panku was increasing within. The size of Panku became enormous, 90,000 "li" (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine - Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the universe. He struggled for ten thousand years until the sky and earth were completely separated into the forces of yin (dark) and yang (light). Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper...); his sweat and tear became rain; his voice became thunder and lightning and his breath became winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a beautiful landscape (Su Shuyang 2010, 4). |
| − | ===B. | + | ===B. Nüwa Created Human Beings=== |
| − | [[File:Picture 2.jpg|thumb|right| | + | [[File:Picture 2.jpg|thumb|right|Fuxi and Nüwa]] |
| − | + | Nüwa was created out of earth from Panku flesh. She was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5). | |
| − | As she was the only human living | + | As she was the only human living being in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable in her world. Thus, she sat down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, singing, dancing, laughing and were endowed with human beings' capacity. Nüwa was very happy with her news creatures who surrounded her and cried "Our Mum!". Then, she continued to create humans days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc. During a long period of years, Nüwa and her creatures were living together without any particular distinction of man and woman and without any marriage. As time was passing; people were getting old and dying one after the other, so, Nüwa started to worry about her offspring, what the world will be after all the men would have died. Nüwa then divided men and women and taught them marriage and how to reproduce themselves between couples in order the lineage of mankind which never ends. She gave her best wishes and advices to human beings, and since then, people continue to marry and give birth. (Su Shuyang 2010, 5, 6). |
| − | ===C. | + | ===C. Fuxi Taught the People=== |
| − | In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired they ascended to the heavens to have a rest. | + | In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired, they ascended to the heavens to have a rest. Fuxi was the first who taught to people how to survive on the earth. Her teachings included: hunting, using fire, writing etc. In some stories Fuxi was the husband of Nüwa, whereas in some other stories he wasn’t. Anyway they are important figures of Chinese civilization. (Irene Dea Collier, 2001, 33) |
| − | + | Fuxi noticed that the new world (people) couldn’t cope with the difficulties of life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could cross mountain peaks to search food. Then, before people were eating raw meat or fish Fuxi showed them how to use fire by twirling two willow sticks together. Moreover, Fuxi taught them many things including agriculture, breeding, security, music, healing and many more. As time was passing; Fuxi got old, and he knew that he could not live forever. Then he decided to create a system of writing, the "trigrams", in order that people can learn and remember about his teachings for a better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers. This "trigrams" were also a mean to interpret future and consult an oracle about the right ways to follow. (Irene Dea Collier 2001, 35, 36) | |
| − | Finally, | + | Finally, Fuxi gave his last gift (music), so that people could live in harmony and peace after him. So, Fuxi taught them how to make musical instruments and how to use it, a "pipa" (lute). That is why music has a great importance in Chinese history. Each time we play music, it reminds us of Fuxi's great teachings. Fuxi’s time ended on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. (Irene Dea Collier 2001, 39) |
===D. Water War=== | ===D. Water War=== | ||
| − | Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and described as | + | Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now it is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and are described as very big giants with different shapes, Gong is shown with a snake’s body and a human face with red hair. Meanwhile Zurong is shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001, 44). |
| − | Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and | + | Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and other gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but unfortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities. (Irene Dea Collier 2001, 48, 49) |
| − | In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking writing, ancestors etc. | + | In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking, writing, ancestors etc. |
===E. Terms and Expressions=== | ===E. Terms and Expressions=== | ||
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Chinese Mythology 中国神话 | Chinese Mythology 中国神话 | ||
| − | + | Pangu 盤古 | |
Yin/Yang 陰陽 / 阴阳 | Yin/Yang 陰陽 / 阴阳 | ||
| − | + | Nüwa 女媧 | |
| − | + | Fuxi 伏羲 | |
Water War 水战 | Water War 水战 | ||
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1. Why an egg a good symbol for the beginning of the world? | 1. Why an egg a good symbol for the beginning of the world? | ||
| − | 2. Why | + | 2. Why Nüwa decided to create human beings? |
| − | 3. What did | + | 3. What did Fuxi taught to the people? |
4. What was the cause of Gong and Zurong’s war and who won? | 4. What was the cause of Gong and Zurong’s war and who won? | ||
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* https://pic.17qq.com/uploads/ijbphegbibz.jpeg | * https://pic.17qq.com/uploads/ijbphegbibz.jpeg | ||
| − | * https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) | + | * https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--[[User:GUIROU BARTHELEMY|GUIROU BARTHELEMY]] ([[User talk:GUIROU BARTHELEMY|talk]]) 14:52, 21 December 2020 (UTC) |
==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译== | ==Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译== | ||
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====Chinese mythology system==== | ====Chinese mythology system==== | ||
| − | Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are | + | Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are orally associated with ritual acts, such as dances, ceremonies, and sacrifices. (Lü & Gong 2014, 71) |
| − | Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology | + | Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originates from India.(Yang, An & Turner 2005, 4) |
| − | The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book | + | The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specialized in recording all of those myths in history, not even being an integrated system like in Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa creating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature (Kuafu Chasing the Sun, Great Yu Who Controlled the Waters). (Bai 1987:34-40) |
| − | Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include Zhuangzi and many other scriptures. | + | Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include 'Zhuangzi' and many other scriptures. Many gods and immortals are created in their texts. Most of them are given official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen (土地公) the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing (三星) Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the God of happiness, Luxing, Firmness Star, the God of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life. (Olson & Stuart 2002:27-28) |
| − | At the end of | + | At the end of Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are many differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattvas have a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, p37) |
====神 shén, 帝 dì and 仙 xiān==== | ====神 shén, 帝 dì and 仙 xiān==== | ||
| + | Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero" or "saint". (Hu 2020) | ||
| − | + | There is another difference between Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life (Fowler & Jeanine 2005:200-201) | |
| − | |||
| − | There is another difference between | ||
====Eight immortals==== | ====Eight immortals==== | ||
| + | The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. (Yang, Deng & Wang 1987:40-45) | ||
| − | + | The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their images that are entirely different from the usual scared deities make them very popular with people. They are not born as immortals. Among them are a general, royal court members, Taoists or even beggars etc. All of them have certain shortcomings, like Lü Dongbin is frivolous, and Li Tieguai is a drunkard. (Yang, Deng & Wang 1987:45-50) | |
| − | |||
| − | The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their | ||
| − | The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying comes from the myth of them-- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal.(Little, Stephen 2000 | + | The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying that comes from the myth of them -- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal. (Little, Stephen 2000:313, 319–334) |
===Terms and Expressions=== | ===Terms and Expressions=== | ||
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====Introduction==== | ====Introduction==== | ||
| − | “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003 | + | “The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003:1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979:1) |
====Development==== | ====Development==== | ||
| + | The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan, who were not only writers but also theorists, forming the basis of the movement. Both of them were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive Confucianism. (Qian Dongfu 1979:15-18) | ||
| − | + | However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters were hindered in their understanding or were neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979:59-61) | |
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| − | However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters | ||
| − | After that, Ouyang Xiu once again advocated | + | After that, Ouyang Xiu once again advocated classical prose in Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of late Tang Dynasty and Song Dynasty. (Song Juan 2005:62-65) |
====Representatives==== | ====Representatives==== | ||
| + | '''1. Han Yu''' | ||
| + | Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and the famous poet Su Shi, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979:15-17) | ||
| − | + | Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 prose pieces. He is especially famous for his ''On Teachers'', which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people. It also has a positive impact on youth education. (Fan Aiju, Li Wei 2014:124-125) | |
| − | + | '''2. Liu Zongyuan''' | |
| − | Han Yu | + | Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong. He was a Chinese litterateur, philosopher, politician and poet who lived during Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the ''Eight Records of Excursions in Yongzhou''. And one of his most famous poems is "Jiangxue". (Yang Shengli 2020:42-44) |
| − | + | '''3. Ouyang Xiu''' | |
| − | |||
| − | |||
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| − | '''3.Ouyang Xiu''' | ||
| − | Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007 | + | Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007:56) |
| − | Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape | + | Ouyang Xiu was in charge of the writing of the ''New Book of Tang'', and he also wrote the ''Historical Records of the Five Dynasties'' independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like ''Zuiweng Tingji'' that won him the greatest acclaim. The poem's most well-known line is: "The Old Toper cares not for the wine, his interest lies in the landscape." This idiom is still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007:56-57) |
| − | Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example | + | Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters of Tang and Song Dynasties. (Qian Dongfu 1979:82-83) |
====Masterworks==== | ====Masterworks==== | ||
| − | Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu | + | Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zongyuan and Ouyang Xiu, other works like ''Shang Zhongyong'' written by Wang Anshi, ''On Jia Yi'' and ''First Ode to the Red Cliff'' by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979:73-78) |
====Influence==== | ====Influence==== | ||
| − | The Classical Prose Movement of | + | The Classical Prose Movement of late Tang Dynasty and of Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China and acted as a fine example for later scholars. (Qian Dongfu 1979:85-86) |
====Terms and Expressions==== | ====Terms and Expressions==== | ||
| − | The Classical Prose Movement of | + | The Classical Prose Movement of late Tang Dynasty and of Song Dynasty 唐宋八大家 |
Classical Prose Movement 古文运动 | Classical Prose Movement 古文运动 | ||
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2. What does the Classical Prose Movement mean? | 2. What does the Classical Prose Movement mean? | ||
| − | 3. What | + | 3. What are the political and religious purposes of the Classical Prose Movement? |
====Answers==== | ====Answers==== | ||
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1. The first promoters of this movement were Han Yu and Liu Zongyuan. | 1. The first promoters of this movement were Han Yu and Liu Zongyuan. | ||
| − | 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and Song Dynasty. | + | 2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and in Song Dynasty. |
3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government. | 3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government. | ||
====References==== | ====References==== | ||
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* Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125. | * Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 ''Lantai World'' (21) 124-125. | ||
| − | |||
* Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3. | * Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3. | ||
| − | |||
* Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57. | * Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 ''Dang Dai Jiangxi'' (02) 56-57. | ||
| − | |||
* Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社. | * Qian Dongfu 钱东父. (1979). 唐宋古文运动 [''The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty''] Shanghai: Shanghai Classics Publishing House 上海古籍出版社. | ||
| − | |||
* Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65. | * Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65. | ||
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* Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44. | * Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44. | ||
| − | |||
* Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38. | * Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38. | ||
--[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 06:52, 21 December 2020 (UTC) | --[[User:Guo Lu|Guo Lu]] ([[User talk:Guo Lu|talk]]) 06:52, 21 December 2020 (UTC) | ||
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===The Chinese Red Envelope and Lucky Money Tradition=== | ===The Chinese Red Envelope and Lucky Money Tradition=== | ||
| − | In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary | + | In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or ''Hóngbāo'' ( 红包 ) in Chinese, ''Li shi'' / ''Lìxì'' in Vietnamese are popular monetary gifts given during holidays, special occasions or festivals such as weddings, graduations, senior people's birthday parties or the birthday of a child, the visit to a newborn baby etc. in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents give kids red envelops with money in it as a present. It is a traditional way to wish good luck and share blessings. |
| − | The Lucky Money tradition began in | + | The Lucky Money tradition began in Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. "worldwide peace" ( 天下太平 / ''Tiān xià tài píng''), “longevity and fortune” ( 千秋万岁 / ''Qiān qiū wàn suì''), dragons and phoenixes were common. |
| − | These coins were tied together with red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC) | + | These coins were tied together with a red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC) |
====The Legend==== | ====The Legend==== | ||
| − | In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it | + | In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called ''Sui'' ( 祟 ) in ancient times. Whenever it was New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called ''Shou Sui'' (守祟 ). |
| − | One tale of the folklore | + | One tale of the folklore goes like this: Once upon a time, there was a couple which was over 50 years old, had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid next to the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was not harmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the story. Since then, when Lunar New Year comes, people will give children "copper money wrapped in red paper" with the belief that the money will protect children from being harmed. |
| − | There are also other legends about this custom related to the son of Yang Guifei of | + | There are also other legends about this custom related to the son of Yang Guifei of Tang Dynasty and related to Qin Dynasty. But in general, the New Year's blessing of lucky money all originates from the idea to give happy money to children, wishing them to grow their money so they can pass the new age with good things and luck.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC) |
====The Tradition==== | ====The Tradition==== | ||
| − | The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished | + | The Chinese custom of Lucky Money is called ''Hóngbāo'' ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called ''Yāsuìqián'' ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished to stay safe and peaceful. Sending Red Envelopes is a way to send good wishes for another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / ''si'') and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ ''si''). However, amounts including the number 8 ( 八 / ''ba'') will bring good luck and prosperity ( 发财 / ''fa''). |
| − | There are rules on how to properly receive an | + | There are rules on how to properly receive an envelope. Traditionally, children would kneel to receive their ''Hóngbāo'' from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the New Year. This is also the source of the traditional Chinese Lucky Money.--[[User:HATHITHUHANG2|HATHITHUHANG2]] ([[User talk:HATHITHUHANG2|talk]]) 16:33, 19 December 2020 (UTC) |
'''Alipay and WeChat Red Envelope''' | '''Alipay and WeChat Red Envelope''' | ||
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[[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]] | [[File:chinese-new-year-red-pockets.jpg|300px|thumb|Right|Red Envelope - How much to give who - [[https://www.chinahighlights.com/travelguide/festivals/red-envelop.htm]]]] | ||
| − | Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a messaging | + | Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital ''Hóngbāo'' to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a Chinese messaging app). In recent years, it has become popular among young people to send "Red Envelopes" via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period. |
While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope. | While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope. | ||
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[[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year: ''Lì xì'' in Vietnam]] | [[File:LunarNewYearinVietnam.jpg|250px|thumb|Right|Lunar New Year: ''Lì xì'' in Vietnam]] | ||
| − | In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year | + | In Vietnam, Lucky Money is called ''Lì xì/Tiền mừng tuổi'' and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year. After that, the adults will give Lucky Money to the children with the message of good luck, good care and an encouragement for good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people. |
[[File:Otoshidama.jpg|200px|thumb|left|''Otoshidama'' in Japan]] | [[File:Otoshidama.jpg|200px|thumb|left|''Otoshidama'' in Japan]] | ||
| − | In Japan, Lucky Money is called ''Otoshidama'' ( | + | In Japan, Lucky Money is called ''Otoshidama'' (お年玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. ''Otoshidama'' Red Envelopes are usually white, not red as common in other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect to the recipient. The message of each ''Otoshidama'' Red Envelopes is a wish for a warm, peaceful and lucky New Year. |
[[File:Sabae.jpg|200px|thumb|right|''Sabae'' in Korea]] | [[File:Sabae.jpg|200px|thumb|right|''Sabae'' in Korea]] | ||
| − | In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than other countries, not only | + | In Korea, Lucky Money is called ''Sabae''. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than in other countries, not only money but also gold, pearls, gems etc. |
[[File:Green Envelope-giving.jpg|200px|thumb|left|''Green Envelope-giving'']] | [[File:Green Envelope-giving.jpg|200px|thumb|left|''Green Envelope-giving'']] | ||
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1. Do you know the origin of giving Lunar New Year's Lucky Money to children? | 1. Do you know the origin of giving Lunar New Year's Lucky Money to children? | ||
| − | 2. | + | 2. Does the Lucky Money tradition exist in other countries than in China? |
| − | 3. What are the rules on giving | + | 3. What are the rules on giving and receiving Red Envelopes? |
| − | 4. On what | + | 4. On what occasion people give and receive Red Envelopes? |
| − | 5. | + | 5. Did you ever receive a Red Envelope? On what occasion? |
===Answers=== | ===Answers=== | ||
| − | 1. It began in | + | 1. It began in Han Dynasty to protect children from being harmed. |
2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries. | 2. Yes. It is very polupar in Vietnam (''Lìxì''), Japan (''Otoshidama''), Korea (''Sabae''), and some other Southeast Asian countries. | ||
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Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml | Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml | ||
| − | He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html | + | He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html--[[User:He Changqi|He Changqi]] ([[User talk:He Changqi|talk]]) 08:49, 23 December 2020 (UTC) |
==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 MTI== | ==Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 MTI== | ||
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3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 10:41, 20 December 2020 (UTC) | 3.It is based on a marriage tragedy.--[[User:Hu Baihui|Hu Baihui]] ([[User talk:Hu Baihui|talk]]) 10:41, 20 December 2020 (UTC) | ||
| − | ==Cuisines | + | ==Cuisines - Eight Major Cuisines in China - Hu Jin 胡瑾 - MTI 英语笔译== |
| − | + | <center>胡瑾，202070080591.</center> | |
===Eight Major Cuisines of China=== | ===Eight Major Cuisines of China=== | ||
| − | ====1. A Brief Introduction About Chinese | + | ====1. A Brief Introduction About Chinese Cuisines==== |
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As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64) | As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64) | ||
====2. The Classification of Chinese Cuisines==== | ====2. The Classification of Chinese Cuisines==== | ||
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| − | China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34 | + | China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34) |
| − | ===== | + | [[File:Cuisines - Eight Major Cuisines in China.jpg|300px|thumb|left|Click [https://image.so.com/view?q=%E5%B1%B1%E4%B8%9C%E8%8F%9C&src=tab_www&correct=%E5%B1%B1%E4%B8%9C%E8%8F%9C&ancestor=list&cmsid=aa3db80e177adc3de3b63a7a4a92c45b&cmras=6&cn=0&gn=0&kn=15&crn=0&bxn=15&fsn=90&cuben=0&pornn=0&manun=0&adstar=0&clw=241#id=a672aab13af3e8780511f47ae795adaf&currsn=0&ps=64&pc=64]for original source.]] |
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| − | Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one | + | |
| − | of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48) | + | |
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| − | =====2. | + | =====2.1 Shandong Cuisine===== |
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| − | + | Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45) | |
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| − | + | [[File:Cuisines - Eight Major Cuisines in China2.jpg|300px|thumb|left|Click [http://spro.so.com/searchthrow/api/midpage/throw?ls=s112c46189d&lm_extend=ctype:3&ctype=3&q=%E5%9B%9B%E5%B7%9D%E8%8F%9C&rurl=https%3A%2F%2Fp0.ssl.qhimgs1.com%2Ft01f2bd515563274e2e.jpg&img=https%3A%2F%2Fp0.ssl.qhimgs1.com%2Ft01f2bd515563274e2e.jpg&key=t01f2bd515563274e2e.jpg&s=1608554450036]for original source.]] | |
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| − | + | =====2.2 Sichuan Cuisine===== | |
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| − | + | Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48) | |
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| − | + | [[File:Cuisines - Eight Major Cuisines in China3.jpg|300px|thumb|left|Click [http://www.sohu.com/a/218230220_99908559]for original source.]] | |
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| − | + | =====2.3 Guangdong Cuisine===== | |
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| − | + | Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52) | |
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| − | + | =====2.4 Fujian Cuisine===== | |
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| + | [[File:Cuisines - Eight Major Cuisines in China4.jpg|300px|thumb|left|Click [http://spro.so.com/searchthrow/api/midpage/throw?ls=s112c46189d&lm_extend=ctype:3&ctype=3&q=%E7%A6%8F%E5%BB%BA%E8%8F%9C&rurl=https%3A%2F%2Fwww.775jia.net%2FYinShi%2FMinCai%2F31482.shtml&img=https%3A%2F%2Fwww.775jia.net%2FYinShi%2FUploadFiles_9031%2F201509%2F2015091116403610.jpg&key=t01464ca1111688a753.jpg&s=1608554608736]for original source.]] | ||
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| + | Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their "pickled taste". (Shi Hongmei 2009, 55) | ||
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| + | =====2.5 Jiangsu Cuisine===== | ||
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| + | Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58) | ||
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| + | [[File:Cuisines - Eight Major Cuisines in China5.jpg|300px|thumb|right|Click [http://k.sina.com.cn/article_6439974127_17fda34ef00100da0v.html]for original source.]] | ||
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| + | =====2.6 Zhejiang Cuisine===== | ||
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| + | Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62) | ||
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| + | =====2.7 Hunan Cuisine===== | ||
| + | Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65) | ||
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| + | [[File:Cuisines - Eight Major Cuisines in China7.jpg|300px|thumb|right|Click [http://img.mp.itc.cn/upload/20170602/aa062f4f21f54de594cc451c9dd40ea2_th.jpg]for original source.]] | ||
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| + | =====2.8 Anhui Cuisine===== | ||
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| + | Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68) | ||
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| + | [[File:Cuisines - Eight Major Cuisines in China8.jpg|300px|thumb|left|Click [http://5b0988e595225.cdn.sohucs.com/images/20171130/fb6d5f2f2ed24b9f986a678b599347f3.jpeg]for original source.]] | ||
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| + | ====3. A Comparison of Chinese-Western Diet Culture==== | ||
| − | + | Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56) | |
| − | + | Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55) | |
| − | + | However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56) | |
| − | There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57 | + | There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57) |
====References==== | ====References==== | ||
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2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. | 2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes. | ||
| − | 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. | + | 3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.--[[User:Hu Jin|Hu Jin]] ([[User talk:Hu Jin|talk]]) 15:52, 21 December 2020 (UTC) |
| − | ==Folk Art: Chinese Paper-cutting - Jiang Fengyi 蒋凤仪 202070080636 | + | ==Folk Art: Chinese Paper-cutting - Jiang Fengyi 蒋凤仪 202070080636 MTI 英语口译 == |
===Chinese Paper-cutting 剪纸=== | ===Chinese Paper-cutting 剪纸=== | ||
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====Introduction==== | ====Introduction==== | ||
| − | With a long history, the Chinese paper-cutting could be dated back to 2000 years ago according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and gods. Later, with the widespread paper-cutting techniques and people’s growing love, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao 2016 | + | With a long history, the Chinese paper-cutting could be dated back to 2000 years ago according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and gods. Later, with the widespread paper-cutting techniques and people’s growing love, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao Youtian 2016, 3) |
====History==== | ====History==== | ||
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[[File:The Earliest Paper-cutting Found in Turfan.jpg|250px|thumb|right| The Earliest Paper-cutting Found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]] | [[File:The Earliest Paper-cutting Found in Turfan.jpg|250px|thumb|right| The Earliest Paper-cutting Found in Turfan, image from www.Chinawriter.com.cn Click[http://www.chinawriter.com.cn/n1/2019/0115/c404102-30538973.html] for original source.]] | ||
| − | The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate things, which laid a solid foundation for the art of paper-cutting. (Li | + | The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate things, which laid a solid foundation for the art of paper-cutting. (Li Youyou, Zhang Jingjuan 2015, 7) |
| − | As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” ( | + | As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Lu Zhongmin 2002, 8) |
| − | In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, each given a special name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li | + | In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, each given a special name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li Youyou, Zhang Jingjuan 2015, 7-8) |
| − | By the Song Dynasty, with the prosperous | + | By the Song Dynasty, with the prosperous economy and culture, in addition to daily decoration, paper-cutting was used in other crafts such as porcelain and blue calico. (Li Youyou, Zhang Jingjuan 2015, 8) |
| − | The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting as artworks. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li | + | The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting as artworks. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li Youyou, Zhang Jingjuan 2015, 8) |
| − | Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved with pottery, printing, dyeing, and other forms of art, being an indispensable part of people’s life. (Li | + | Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved with pottery, printing, dyeing, and other forms of art, being an indispensable part of people’s life. (Li Youyou, Zhang Jingjuan 2015, 8) |
====Five Regions==== | ====Five Regions==== | ||
| − | The distribution of Chinese folk paper-cutting, combining with the historical changes, geographical and ecological environment changes, cultural development differences, and so on, can be divided into five regions. (Wang 2006 | + | The distribution of Chinese folk paper-cutting, combining with the historical changes, geographical and ecological environment changes, cultural development differences, and so on, can be divided into five regions. (Wang Minbo 2006, 106) |
| − | Northeast Changbai Mountains region: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang 2006 | + | Northeast Changbai Mountains region: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang Minbo 2006, 106) |
| − | Yellow river basin region: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang 2006 | + | Yellow river basin region: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang Minbo 2006, 106) |
| − | Yangtze River basin region: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang 2006 | + | Yangtze River basin region: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang Minbo 2006, 106) |
| − | + | Southeast coastal region: It is highlighted by the paper-cutting of Zhejiang and Fujian Provinces. Paper-cutting in this region, with a richer life, especially in Jinhua, Zhejiang Province, and Foshan, Guangdong Province, have their own features in the history of cultural development. The vein is also more distinct, and it tends to be elegant and commonly appreciated. (Wang Minbo 2006, 106) | |
| − | + | Southwest minority region: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper-cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang Minbo 2006, 107) | |
| − | ==== | + | ====Categories==== |
[[File: Dyed Paper-cutting.jpg|200px|thumb|left| Dyed Paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]] | [[File: Dyed Paper-cutting.jpg|200px|thumb|left| Dyed Paper-cutting, image from 360baike. Click [https://baike.so.com/doc/2408800-2546694.html] for original source.]] | ||
| − | There are various ways to make paper-cutting works, | + | There are various ways to make paper-cutting works, including folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li Youyou, Zhang Jingjuan 2015, 8) |
| − | Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. | + | Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. The Chinese revered red since ancient times, and whenever there are grand celebration ceremonies or festivals, red is the main color, demonstrating warmth, passion, brightness, and happiness. Besides red, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances, among which white paper-cutting is mostly used, as it could serve as the base sample for embroidery. (Li Youyou, Zhang Jingjuan 2015, 8) |
| − | Dyed paper-cutting is also called dotted paper cuttings. The | + | Dyed paper-cutting is also called dotted paper cuttings. The handicraftsman would mostly choose Xuan paper as the material, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong Provinces, among which the dotted paper cuttings in the Wei County, Hebei owns a very unique style. (Li Youyou, Zhang Jingjuan 2015, 8) |
====Themes==== | ====Themes==== | ||
| − | Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects | + | Folk paper-cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious beliefs. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li Youyou, Zhang Jingjuan 2015, 8) |
| − | It is the rural working women who | + | It is the rural working women who design and create the majority of the delicate paper-cuttings. When they are five or six years old or seven or eight years old, they begin to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They devoted themselves to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li Youyou, Zhang Jingjuan 2015, 9) |
===References=== | ===References=== | ||
| − | Li Youyou | + | Jiao Youtian. 矫有田. (2016). ''中华剪纸绝艺 [Chinese paper-cutting]''. 济南：济南出版社 Jinan: Jinan Press. |
| + | |||
| + | Li Youyou, Zhang Jingjuan. 李有有&张静娟. (2015). ''剪纸 [paper-cut]''. 北京: 中国旅游出版社 Beijing: China Travel & Tourism Press. | ||
| − | Lu Zhongmin. (2002) Folk Handicrafts. Beijing: Foreign Language Press. | + | Lu Zhongmin. (2002). ''Folk Handicrafts''. Beijing: Foreign Language Press. |
| − | Wang Minbo 王敏伯. (2006) 中国民间剪纸史[The History of Chinese Folk Paper-cut Arts] 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press. | + | Wang Minbo. 王敏伯. (2006). ''中国民间剪纸史 [The History of Chinese Folk Paper-cut Arts]''. 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press. |
===Terms and Expressions=== | ===Terms and Expressions=== | ||
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mono-colored paper-cutting 单色剪纸 | mono-colored paper-cutting 单色剪纸 | ||
| − | + | smoked paper-cutting 熏样剪纸 | |
| − | smoked paper- | ||
Shōsō-in 正仓院 | Shōsō-in 正仓院 | ||
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Spring Festival couplets 春联 | Spring Festival couplets 春联 | ||
| − | totem | + | totem worship 图腾崇拜 |
| − | + | Turfan 吐鲁番 | |
===Questions=== | ===Questions=== | ||
| − | 1. Where | + | 1. Where did people found the earliest paper-cutting in China? |
2. How many regions the distribution of Paper-cutting can be divided into? | 2. How many regions the distribution of Paper-cutting can be divided into? | ||
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1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region. | 1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region. | ||
| − | 2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, | + | 2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, Southeast coastal area, and Southwest minority areas. |
| − | 3.Mono-colored paper-cutting and dyed paper-cutting. | + | 3. Mono-colored paper-cutting and dyed paper-cutting. |
| − | 4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious | + | 4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious beliefs. |
| + | --[[User:Jiang Fengyi|Jiang Fengyi]] ([[User talk:Jiang Fengyi|talk]]) 15:52, 21 December 2020 (UTC) | ||
| − | ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 英语笔译== | + | ==Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 MTI 英语笔译== |
| + | <center>蒋淇玮, 202070080592.</center> | ||
===The Chinese Medical Sage - Zhang Zhongjing=== | ===The Chinese Medical Sage - Zhang Zhongjing=== | ||
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When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56) | When talking about Zhang Zhongjing, We have to mention his masterpiece ''Treatise on Febrile and Miscellaneous Diseases'', which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56) | ||
| − | There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. ( | + | There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (Capital Medicine 2003, 40) |
| − | When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. ( | + | When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (Capital Medicine 2003, 40) |
| − | Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. ( | + | Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (Capital Medicine 2003, 40) |
| − | Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. ( | + | Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (Capital Medicine 2003, 40) |
| − | In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." ( | + | In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (Capital Medicine 2003, 40) |
At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20) | At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20) | ||
| − | + | [[File:Medicine, Zhang Zhongjing.jpeg|400px|thumb|right|Click [http://www.zjjk365.com/Ne_d_gci_6_id_37065.html]for original source.]] | |
| − | [[File: | ||
===References=== | ===References=== | ||
Latest revision as of 18:56, 18 September 2021
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Final Exam Paper. Please write now and improve until grading on 2020 12 15
- You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
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- Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). 翻译基础 [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.
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Chinese Astrology - Alsied, Saffana
"Chinese Astrology"--[[User:SAFFANA ALSIED ,Student No:201921080006.. Major..Comparative Literature and Cross-cultural studies.
The History
What is Chinese astrology? Chinese astrology is an ancient art, which uses the time of birth, including the year, month, day, and time, to reveal insights into a person’s personality traits, lifestyle, health, career direction, and compatibility with others. Although the exact origin of the system is unknown, Chinese astrology has guided the Chinese for over five thousand years and has a profound influence on our lives. The Chinese system of zodiac is actually based on a ten-year Sun-Moon cycle that conforms to the ancient Chinese agricultural calendar. The cycle is divided into the five elements water, wood, fire, earth, and metal as well as the twelve animals, representing each year. The system is influenced by Yin (female) and Yang (male) cosmic force, which is said to be an interpretation of universal harmony and balance. Where the source is coming from ?
The Five Elements and Yin/Yang
Chinese believe that the five basic elements, wood, fire, earth, metal, and water form everything in the Universe. As a fundamental part of Oriental philosophy, the five elements are divided into Conducive and Controlling interrelationships. A conducive interrelationship means that these five elements will produce one another and help nourish each other. We get fire from wood because fire is produced by burning wood. We get earth from fire because fire can burn everything into ashes (earth). We get metal from earth because all metal has to be extracted from the earth. We get water from metal because metal will change into liquid when heated. And, from Water we get Wood because water nourishes plants, thus producing wood.
A Controlling interrelationship means that these five elements can control or be destroyed by another element. Wood controls earth because trees draw nourishment out of the earth. Earth controls Water because the earth can absorb water and also blocks the flow of water through man-made dykes or naturally occurring phenomena. Water controls Fire because the water is used to put out fires. Fire controls Metal because the heat of a fire can melt metal. And, Metal controls Wood because trees can be chopped down by the metal blade of an ax. Under this philosophy, no element is considered the strongest or weakest. Each element is either controlled by another element or can produce another element. In fact, they are dependent on one another and therefore, are considered equal. In Chinese astrology, during the complete sixty-year cycle, each of the animal signs is combined with the five main elements: Wood, Fire, Earth, Metal, and Water. The element of your zodiac sign will exercise its influence on your life.
The forces of Yin / Yang
Since ancient times, the Chinese have believed that two major forces, the Yin and the Yang, control the universe. These two forces are the foundation of Chinese philosophy, people, and even Chinese medicine. Generally speaking, the Yin signifies death whereas the Yang indicates life.
A well-known symbol called “Tai Chi” (the ultimate matter) embodies the Yin and the Yang. In the circle, the two forces equilibrate the energy and keep everything balanced. No force is stronger or weaker than the other, when one is at its highest, the other is at its lowest. Together the Yin and the Yang become a whole and thus keep the universe in harmony. where the source is coming please?
Chinese astrology was invented to achieve the two following goals;
1.) To predict the future,
2.) To determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.
According to Chinese astrology, a person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu, and is still used regularly in modern day Chinese astrology to predict one's fortune. Chinese Astrology Signs are based on the year that a person is born, with each of the twelve Chinese Zodiac Signs being represented by a particular animal. The twelve Chinese Zodiac Signs are; Rat, Ox, Tiger, Rabbit, Dragon, Snake, Horse, Lamb, Monkey, Rooster, Dog, Pig. It is felt in Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Chinese astrology that the animal ruling the year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year. where the source is coming please ?
Today, the Chinese Zodiac constitutes as a significant part of the traditional Chinese culture. At festive events paper-cut and New-Year pictures of the Chinese Zodiac are popular among the Chinese people. In addition, the Chinese Zodiac is also seen as the symbol of China itself, enforcing its vital role within Chinese culture, although the dragon is the most recognized totem of the Chinese nation. quotation please?
The Chinese Zodiac plays a part within people's religious beliefs in China. The 12 animals are divided into two categories of Yin and Yang, which are the underlying principles of Chinese philosophy and medicine by ancient Chinese people in accordance with the Five Elements (Metal, Wood, Water, Fire, and Earth). A set of fortunetelling methods proclaim that the twelve Chinese horoscope animals decide people's, as a result, the Chinese Zodiac began to play a crucial part in people’s characters, friendships, marriages, careers, health, fortune and other vital parts of their life. Within Chinese astrology, it is considered that when a person comes to their attributed year, which is decided by the year when they were born, they must wear a red belt to pursue good fortune and avoid bad luck. This custom of 'Birth Year' is widespread throughout China.quotation please?
You might also be surprised to hear that according to some astrologers, your Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.
Terms and Expressions
1. Chinese Astrology 中国占星学
2. Chinese Zodiac 中国十二生肖
3. Agricultural calendar 农业日历
4. ”Tai Chi” (the ultimate matter) “太极拳”（终极目标）
5. The Oriental philosophy 东方哲学
Questions
1-Why was Chinese astrology invented?
2-How Chinese astrology relates to a person’s divine destiny?
3-What important role does the Chinese zodiac play in Chinese culture?
4- What is Chinese astrology based on?
5-Is Chinese astrology accurate?
Answers
1. To predict the future, to determine days which are seen as the perfect days in which to initiate a particular project, especially a wedding ceremony or a new business enterprise.
2. A person's destiny is determined by the position of the major planets, the positions of the Sun, the moon and comets at the person's time of birth, as well as their Zodiac Sign. This comprehensive system of creating one's fate and destiny based on one's birthday, birth season and birth hours is known as Zi Wei Dou Shu.
3. The year of one’s birth has a profound influence on their life. Eastern Chinese people consider that each Animal Sign embodies its Animal's characteristics, which are instilled within the people born that are born within that year.
4. The Chinese zodiac is a classification scheme based on the lunar calendar that assigns an animal and its reputed attributes to each year in a repeating 12-year cycle. The 12-year cycle is an approximation to the 11.85-year orbital period of Jupiter.
5. Chinese Zodiac sign is considered more accurate than your astrological zodiac sign, for a variety of reasons.
References
Ting, Julian (2014), 占星學量子, createspace, ISBN 978-149373455-9
何丙郁. (2003). Chinese mathematical astrology: reaching out to the stars, Routledge, ISBN 0415297591
Sun, Xiaochun, Jacob Kistemaker. (1997). The Chinese sky during the Han: constellating stars and society. Leiden: Brill. 3-4. ISBN 978-90-04-10737-3.
"'Almanac' 'lunar' zodiac beginning of spring as the boundary dislocation? — China Network". 16 February 2009. Retrieved 5 January 2011.
Eberhard, Wolfram. (1986). A Dictionary of Chinese Symbols. Routledge and Keegan Paul, London. 93, 105, 309.
"Five Elements (Wu Xing)". YourChineseAstrology.com
Spring Festival Couplets - Cao Runxin 曹润鑫 - 202070080634 - 英语口译
Spring Festival Couplets
Spring Festival Couplets, Chunlian in Chinese, is also known as Spring Couplets or Chinese New Year Couplets. It is the most common and important custom when celebrating Chinese New Year. This tradition is widely kept both in modern cities and rural areas of China.With black or golden characters written on red paper, Spring Festival Couplets are composed of a pair of poetry lines vertically pasted on both sides of the front door and a four-character horizontal scroll affixed above the doorframe. Pasting couplets expresses people’s delight in the festival and wishes for a better life in the coming year.(Li Wenyan 2018, 211).
Spring Couplets originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty. According to the legend, a rooster perching in a big peach tree will crow at dawn to call all the traveling ghosts back. In front of the entrance of the dark world, there are two guards named Shentu and Yulei. If the ghosts harm any people at night, the guards will kill them.People believed that peach trees can scare and subdue evil things, so they hung peach boards in front of the doors with the guards’ names written or inscribed on them. During the Song Dynasty, the wood board was replaced by paper, and people focused more on bright wishes for the future. The custom became popular in Ming Dynasty. When the Emperor Zhu Yuanzhang traveled for inspection, he found those pairs of scrolls interesting. In order to advocate and promote this cultural activity, he ordered all household to paste the scrolls during the Chinese New Year. This tradition continues today.(Qian Yu, Liu Tao 2018, 75).
The upper scroll and the lower scroll have parallel structures and antithetical meanings. The two lines should have an equal number of characters, while their meaning must be related and antithetical. There must be a one-to-one correspondence between the two lines. The tone pattern is emphasized but rhythm is not important. The horizontal scroll is a four-character phrase, which sums up the two lines’ meaning. When you read a spring festival couplets, first,look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.(Zhang Yanchen 2020, 34).
There are rules not only for pasting the couplets, but also traditions for how to remove them, and these traditions vary in different areas of China.In remote or rural areas, people will not remove the old scrolls until the next New Year. Although they are damaged by wind and rain, they will still keep them up until replaced the following year. In modern cities, if the couplets are ruined or damaged, people usually tear them off after the Lantern Festival. Some will just throw them away, while others will burn them. According to legend, Spring Couplets are gods. After burning, the god can go back to heaven, which will bring good luck to the family.(Han Daqiang 2014, 83).
References
- Zhang Yanchen 张砚宸. (2020). 中国春联的文化内涵与艺术特色探微 [The exploration of the cultural connotations and artistic features of Chinese Spring Couplets]. 汉字文化 Chinese Character Culture (19) 34-35.
- Li Wenyan 李文艳. (2018). 春联的演变历程及民俗价值 [The evolution and folk value of Spring Festival Couplets]. 艺术品鉴 Art Appreciation (24) 211-212.
- Qian Yu, Liu Tao 钱钰，刘涛. (2018). 从桃符到春联的演进——基于祝由文化兴衰的视角 [The Evolution from Taofu to Spring Couplets - A perspective based on the rise and fall of Zhuyu Culture]. 民间文化论坛 Folk Culture Forum (01) 75-83.
- Han Daqiang 韩大强. (2014). 论春节仪式中符号元素的文化意蕴——以春联、门神为例 [On the cultural implications of symbolic elements in Chinese New Year Rituals - Taking Spring Couplets and Door Gods as examples]. 信阳师范学院学报(哲学社会科学版) Journal of Xinyang Normal College (Philosophy and Social Science Edition) (05) 83-87.
Terms and Expressions
Spring Festival Couplets, Spring Couplets, Chinese New Year Couplets, New Year Scroll 春联
Paste 贴
Horizontal scroll 横联
Upper scroll 上联
Lower scroll 下联
Questions
1.What’s the purpose of pasting Spring Festival Couplets?
2.What’s the historical origin of Spring Festival Couplets?
3.How to read the Spring Festival Couplets?
4.How to do with the Old Couplets?
Answers
1.To expresses people’s delight in the festival and wishes for a better life in the coming year.
2.It originated from Taofu, an inscription on boards made from peach trees in the Zhou Dynasty.
3.First, look at the horizontal scroll. If the four characters are written from left to right, the upper scroll will be on the left and the lower scroll on the right. If the characters of the horizontal scroll are reversed, the two side scrolls should be read from right to left.
4.Remove the old scrolls until the next New Year or tear them off after the Lantern Festival.
Instruments, Guzheng - Chen Han 陈涵 - 202070080580 - MTI 英语笔译
Guzheng
Guzheng or Zheng is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, zheng has become an important instrument and was widespread at that time. Due to the long history, its primitive simplicity and elegant sound, people are used to calling it guzheng (gu refers to “ancient”). It has beautiful timbre, broad ranges, rich performance skills and strong expressive power, so it is deeply loved by Chinese. (Wang Xiaohong & Gu Haijun 2019, 69)
There are varied accounts for how the zheng came to be. The first legend says the history of guzheng can date back to the Warring States Period (Duan Lili 2006, 57). The oldest specimen yet discovered held 13 strings. Zheng was regarded as a weapon at that time which was used vertically to beat enemies. There was also an old saying that “the zheng makes a pleasant sound when placed horizontally and becomes a soldier when placed vertically”. Later, strings were added to it, and when plucked, it was found to be pleasing to the ears, so it developed into an instrument. As time went by, the weapons became lighter and lighter, and the zheng, a large and heavy weapon, was abandoned. The second legend says the early form of thezheng is said to have been invented by Meng Tian, a general of the Qin Dynasty (221-206 BC). But according to the biographies of Meng Tian in Historical Records, there is no record of his invention of the zheng. The third legend says the guzheng came about largely influenced by the se which was recorded by Zhao Lin in Records on Words. When two people fought over a 25-string se, they broke it in half, one person receiving a 12-string part and the other the 13-string part. (Jin Jianmin 1988, 51)
The modern-day guzheng usually has 21 strings and movable bridges and is 163 centimeters long. It should not be confused with the guqin, another ancient Chinese zither with 7 strings played without movable bridges. The strings were originally made of silk. By the 20th century, most players used metal strings. Since the mid-20th century, steel strings wound with nylon are common to be seen. The body of the guzheng is approximately rectangular, with a slight protrusion in the middle of the faceplate. The head and tail of the guzheng are anterior mountain and posterior mountain respectively. The two mountains are connected by 21 strings which are supported by 21 movable bridges, also known as Yan Zhu which are moved to change the timbres. The strings at the anterior side are wound around the string pegs in the turning box. And the guzheng was usually placed on the zither feet. The timbre of the guzheng is determined by the quality of the wood. Since the tension of paulownia is better, the body of the guzheng are mostly made of paulownia. The head, tail and other parts of the guzheng are generally made of mahogany, and some patterns are decorated on the head and the tail. (Liu Xueqi 2019, 83)
The fingerpicks, called Dai Mao or Yi Jia, used by guzheng performers are often made from materials such as plastic, resin, tortoiseshell, or ivory on one or both hands. The guzheng is plucked by the fingers with or without these fingerpicks. Most modern players use fingerpicks attached to up to four fingers on each hand. In ancient times, picks were made of materials such as bamboo, bone, animal teeth, or even jade. There are many techniques used to strike notes. Generally speaking, performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges. There are also many fingering methods on playing the guzheng, such as gou, tuo, pi, tiao and mo. These techniques of playing the guzheng can create sounds that evoke a sense of a cascading waterfall, thunder and even the landscape. Using both hands to play on the right side of the strings is a common playing skill at the present. Do, Re, Mi, So and La are the pentatonic scale of the guzheng, but Fa and Si are produced by pressing the stings to the left of the bridges. (Gao Yiwei 2020, 39)
Since the Qin and Han Dynasties, guzheng gradually spread across the country from the northwest China, and was merged with the local opera, rap and folk music, and formed a variety of genres with strong local style . The styles or schools of the guzheng can be traditionally divided into the Northern school and the Southern school. The Northern style is associated with Henan Province, Shaanxi Province and Shandong Province while the Southern style includes the Chaozhou, Hakka and Fujian regional schools. With the development of the times, several new schools are derived on the basis of the Northern and Southern schools, namely the four major schools of “Taiwan, Shandong, Henan and Zhejiang” (Cao Yue 2002, 84). The differences among the contemporary schools are quite small and every style has its own characteristics of zheng music and performance methods. Some famous pieces such as High Mountains and Running Water (Gao Shan Liu Shui), The Autumn Moon in the Han Palace (Han Gong Qiu Yue) are both from the Shandong school. In the southern school, representatives include Jackdaw Playing in the Water (Han Ya Xi Shui), and The Tune of Liu Qing Niang belongs to the Chaozhou school (Cao Yue 2002, 84).
In the 20th century, outstanding guzheng performers such as Wang Xunzhi, Cao Zheng, Cao Dongfu and Luo Jiuxiang laid a solid foundation for the development of guzheng (Liu Xueqi 2019, 83). Notable Chinese guzheng players in the 21th century include Wang Zhongshan, Yuan Sha, Zhou Wang and so on. In addition to playing traditional guzheng music, many performers today have made innovations in guzheng performance. Take Wang Zhongshan as an example, he participated in a TV show — National Music Ceremony, which is a large-scale original Chinese classical music competition show. In a performance, Wang merged the music in Dream of the Red Chamber with the song in Game of Thrones by playing the guzheng, making a combination of Eastern and Western music and creating a wonderful listening experience for audience. (Tong Guiying 2019, 197)
From ancient times to the present, the charm of the guzheng has never diminished. The combination of cultural heritage and modern techniques has made this national musical instrument more radiant.
References
- Cao Yue 曹月. (2019). 古筝的主要流派与风格特征 [The main schools and styles of the guzheng]. 东南大学学报(哲学社会科学版) Journal of Southeast University (Philosophy and Social Science) (04) 84-87.
- Duan Lili 段丽丽. (2006). 古筝的起源与发展 [The origin and development of the guzheng]. 民族音乐 Folk Music (01) 57-58.
- Gao Yiwei 高祎蔚. (2020). 浅谈古筝演奏中音色的体现及把握 [The embodiment and grasp of timbre in guzheng performance]. 中国文艺家 Chinese literary artists (05) 39+165.
- Jin Jianmin 金建民. (1988). 古筝起源之谜 [The mystery of the origin of the guzheng]. 中国音乐 Chinese Music (01) 51.
- Liu Xueqi 刘雪琦. (2019). 浅谈古筝的起源与发展历程 [The origin and development history of the guzheng]. 戏剧之家 Drama House (14) 83.
- Tong Guiying 佟桂影. (2017). 王中山古筝作品的艺术特征研究 [Research on the artistic characteristics of Wang Zhongshan's guzheng performances]. 才智 Talents (24) 197-198.
- Wang Xiaohong, Gu Haijun 王晓红, 顾海珺. (2019). 浅谈古筝传承与发展 [The development of the guzheng]. 戏剧之家 Drama House (23) 69.
Terms and Expressions
- Meng Tian 蒙恬
- Zhao Lin 赵璘
- Records on Words 《因话录》
- anterior mountain 前岳山
- posterior mountain 后岳山
- Yan Zhu 雁柱
- string pegs 弦钉
- turning box 调音盒
- zither feet 琴足
- paulownia 桐木
- mahogany 红木
- Dai Mao 玳瑁
- Yi Jia 义甲
- gou, tuo, pi, tiao and mo 勾、托、劈、挑、抹
- High Mountains and Running Water 《高山流水》
- The Autumn Moon in the Han Palace 《汉宫秋月》
- Jackdaw Playing in the Water 《寒鸦戏水》
- The Tune of Liu Qing Niang 《柳青娘》
- Wang Xunzhi, Cao Zheng, Cao Dongfu, Luo Jiuxiang 王巽之、曹正、曹东扶、罗九香
- Wang Zhongshan, Yuan Sha, Zhou Wang 王中山、袁莎、周望
- National Music Ceremony 《国乐大典》
Questions
1. What kind of musical instrument does the guzheng belong to?
2. Why the guzheng is deeply loved by Chinese?
3. Who is Meng Tian?
4. According to the legend, how did the se develop into the zheng?
5. How many strings does the guzheng have? How long is the guzheng?
6. What is the function of movable bridges?
7. What are used by guzheng performers to play the instrument? And What are they also called?
8. In ancient times, what materials were the fingerpicks made of?
9. Generally speaking, how does the players strike notes?
10. What styles can guzheng be divided into?
11. Which school does The Autumn Moon in the Han Palace belong to?
12. Do you know any other guzheng music? Please list some pieces.
Answers
1. It belongs to plucked stringed instruments.
2. It has beautiful timbre, broad range, rich performance skills and strong expressive power.
3. He is a general of the Qin Dynasty (221-206 BC), and a legend says the early form of the zheng is said to have been invented by him.
4. When two people fought over a 25-string se, they broke it in half, one person receiving a 12-string part and the other the 13-string part.
5. It usually has 21 strings and is 163 centimeters long.
6. They are moved to change the timbres.
7. Guzheng performers use fingerpicks to play the instrument. They are also called Dai Mao or Yi Jia.
8. In ancient times, fingerpicks were made of materials such as bamboo, bone, animal teeth, or even jade.
9. Performers traditionally use the thumb, index finger, middle finger and ring finger of the right hand to pluck notes and the left hand to add ornamentation such as pitch slides and vibrato by pressing the strings on the left side of the bridges.
10. The Northern school and the Southern school.
11. The Autumn Moon in the Han Palace belongs to the Shandong school.
12. Harvest Celebration (Qing Feng Nian 《庆丰年》), Fighting the Typhoon (Zhan Tai Feng 《战台风》) and Song of the Fishermen (Yu Zhou Chang Wan 《渔舟唱晚》).
--Chen Han (talk) 11:36, 21 December 2020 (UTC)
Facial Make-up - Chen Jingjing 陈静静 - 202070080581 - 英语笔译
Facial makeup
Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up.(Wang Hai 2018, 62)
The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.(Wang Hai 2018, 62)
People hold different views when speaking of the origin of the facial makeup. It is said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.(Cao Juan 2019, 58)
The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou wear their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk characteristics. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.(He Weiwei 2015, 138)
Red
Red facial makeup is symbolic of loyalty, upright and integrity like the characters Guan Yu and Wu Han.
Black
Black facial makeup gives people the impression that the actor is serious,courageous and wise like Bao Zheng, a impartial official. It also stands for mighty force and boldness like Zhang Fei in drama the Three Kingdoms and Li Kuai in drama Water Margin of the Marsh.
White
White facial makeup bears a derogatory sense, indicating a deceitful and suspicious nature like Cao Cao in drama the Three Kingdoms and Yan Song, Qin Hui.
Blue
Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly like Ma Wu and Dou Erdun.
Purple
Purple facial makeup shows more sedate and righteous like Xu Yanzhao and Zhuan Zhu.
Golden
Golden facial makeup symbolizes dignity and power fitting roles like supernatural being such as Tathagata (Sakyamuni, the creator of Buddhism) and Erlang Shen (a Chinese God with a third truth-seeing eye in the middle of his forehead).
The features of facial makeup are mainly as follows: First, it is a contradictory unit of beauty and ugliness.Second, it is closely related to the character’s personality.Thirdly, its pattern is stylized. Chinese Peking opera makeup is favored by many opera enthusiasts and is widely known both at home and abroad, having been regarded as one of the mark of traditional Chinese culture. It is derived from the stage and could be seen on some large buildings, packages of some commercials, various porcelains and people’s clothes in different styles. It is far beyond the scope of stage use, showing its status in people’s heart and strong vitality. Out of curiosity and affection for facial makeup in Chinese opera, a great many foreign friends and Chinese of insight start to explore the mystery of it.(Cao Juan, 2019, 61)
Terms and Expressions
painted face 花脸
clown 丑角
Sheng 生
Dan 旦
Jing 净
Chou 丑
Qingyi 青衣
xiaosheng 小生
laosheng 老生
wusheng 武生
Gao Changgong 高长恭
legend，romance 传奇剧
Erlang Shen, Erlang 二郎神
Tathagata, Buddha 如来佛
Sakyamuni 释迦牟尼
Water Margin of the Marsh 水浒传
Questions
1.How many types are character roles divided into in Beijing opera?
2.What are the differences bbetween Sheng and Dan?
3.What are the special features of Chou?
4.What is the function of facial mask in Beijing opera?
5.What are the main features of facial makeup?
6.What are the characteristics of characters wearing blue facial makeup?
Answers
1.Four types:Sheng, Dan, Jing and Chou.
2.Sheng refers to male roles while Dan refers to female roles.
3.A patch of white powder is wiped on their nose.
4.It is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.
5.It is a contradictory unit of beauty and ugliness and is closely related to the character’s personality and its pattern is stylized.
6.Characters wearing blue facial makeup tend to be upright ,outspoken ,obstinate and even unruly
References
He Weiwei 何伟伟.(2015).浅谈京剧脸谱的色彩研究[Study on the colors of the facial makeup in Beijing opera].艺术科技 Art and Technology ,28(04):138-139.
Cao Juan 曹娟.(2019).中国京剧脸谱之考究[Study on Beijing opera facial makeup].中国京剧,(01):58-61.
Wang Hai 王海.(2018).京剧脸谱程式化特征与传统文化元素[Features of Beijing opera facial makeup and the traditional elements it related to].中国京剧 Chinese Peking Opera,(08):62-65.
Literature, Science Fiction, and Fantasy - Dashkin, Gennadii - Student No.201911080001. Major - Comparative Literature and Cross-Cultural Studies
Three Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy
Nowadays, modern literature is one of the most interesting and gorgeous sides of worldwide cultural processes. It heals soul and heart and can change everything to its best. However, it can be difficult sometimes to talk about literature without dividing it into genres. We can guess that the modern generation in the whole world prefers to read something about the future. Something, that can help to understand what will be next. And that is why one of the most popular genres are with no doubt - Science Fiction and Fantasy. So, let's see who are the most popular Chinese sci-fi and fantasy authors who broaden our mental horizons.
1.Liu Cixin（刘慈欣）
Liu Cixin was born in 1963 in Yangquan City, Shanxi Province, 400 kilometers from Beijing. Other famous natives of the area were Gaozu, the founder of the Tang Imperial Dynasty, and Jia Zhangke, the chief filmmaker of modern China. The parents of the future writer worked in a mine in Shanxi, and his first conscious years fell on the heyday of the Cultural Revolution (1966-1976). (Alexandra Alter, How Chinese Sci-Fi Conquered America 2019, 1)
Liu received his technical education from North China University of Water and Electricity. After graduation, he worked as a computer engineer at a power plant in his native Yangquan. Now Liu Qixin is combining his studies of literature with the post of chief engineer of the China Energy Investment Corporation at the Nianziguan Power Plant. Liu Cixin started writing relatively late. At 26, he wrote China in 2185, but the book never saw the light of the day. Mostly this was due to the consequences of the Cultural Revolution - in the late 80s, almost no science fiction literature was published in China. Later, when the opportunity arose to publish the novel, the writer himself re-read it, considered it second-rate, badly written, and naive, and decided that he did not deserve publication. However, Liu Cixin did not give up and in 1999 he released another novel, written by him at a young age, but significantly modified and edited for publication. This is how Liu Cixin's first big book appeared - the novel "Supernova Era". Before that, some of his stories were published in magazines, but the writer's name became really noticeable after the publication of this book. In it, as a result of the radiation of a supernova, all people over 30 are threatened with death within a year. Since then, the life of humanity has changed dramatically, and although the doomed older generation made heroic efforts to make the existence of young people better, a year later the world is plunging into an abyss of chaos and violence. (Liu Cixin, Supernova Era 2019,352)
Liu's first books were warmly received in China, but nevertheless, the real success came to the author only in 2006, when he published the first part of his trilogy "Memory of the Earth's Past" - the novel "The Problem of Three Bodies" in the Chinese journal Science Fiction World. This book first made the writer a real star in his homeland, and 7 years later, when the Chinese-American science fiction writer Ken Liu translated it into English, and all over the world. The novel has become so popular that the entire trilogy is often referred to as "The Three-Body Problem," although this is not formally true.In 2006, the book won the Galaxy Award, the main Chinese literary science fiction award, and after being translated into English, it was nominated for all three major world awards: Hugo, Locus, and Nebula. The novel only won the Hugo Award, but in 2017 the third part of the Eternal Life of Death trilogy took over Locus. The novel gain such a great popularity that famous people like Barack Obama and Marc Zuckerberg recommended it to every single person in order to understand the perhaps future and how to avoid the negative contact with aliens.(Kakutani, Obama’s Secret to Surviving the White House Years:Books 2017, 1)
Liu Cixin is definitely a unique writer, with his own style, philosophy, and special vision of science fiction. So far, only three of his novels have been published outside of China, but he has already won such recognition that Barack Obama and Mark Zuckerberg recommend reading the Cixin trilogy. But the main thing that Liu Cixin has already managed to prove with his books is that science fiction literature is capable of giving generous shoots not only on the basis of European culture. Liu Cixin is the first person outside of the Western world to achieve resounding success in science fiction. And, perhaps, his trilogy is just the beginning of a new global phenomenon. After all, it's not for nothing that many experts have been saying for several years that the future belongs to China. It is very likely that this phrase refers not only to politics and economics but also to science fiction literature.Also Liu Cixin is a big fan of reading books and he sometimes recommend not only to read classical sci-fi novels but also modern authors like Chen Qiufan, Derek Kunsken and so on.(Liu Cixin, Supernova Era 2019,15)
2.Chen Qiufan (陈楸帆）
Today this author is called by others the “Chinese William Gibson”. He can also be called one of the leaders of Chinese science-fiction and a cyberpunk novelist. He was born in China in 1981 in a seaside province in southeastern China called Guangdong, which borders Hong Kong and Macau. To say more accurately he grew up a few miles from Guiyu, the largest waste dump. Mountains of scrap electronics are shipped there every year from all over the world. Thousands of workers sort through the garbage in search of something that is suitable for recycling. This topic became the central topic in a novel called “Waste Tide”.(Chen Qiufan,Waste Tide, 2019,3)
Also, by the early 2000s, Chen Qiufang had become a big fan of virtual chats and the Internet. He saw great potential in the Internet and technologies in general, an opportunity to change the world for the better. After graduation, Chen worked with Google, Baidu, and co-founded Noitom, a virtual reality startup in Beijing. As science fiction began to gain popularity in China and receive support from the government, Qiufan turned to full-fledged novels.(Chen Qiufan,Waste Tide, 2019,5)
His debut book was The Empty Wave, "combining realism and allegory to represent the hybridity of humans and machines." Chen Qiufan's novels and stories won three Galaxy Awards and twelve Chinese Nebula Awards. His works have been translated into German, French, Finnish, Korean, Czech, Italian, Japanese, Polish, and Russian. His book Waste Tide became one of the most discussed books around the world and got universal acclaim from critics and usual readers. The fantastic mix of dark future with reality components made this book a guidebook for those who are worried about ecological problems and the darkest sides of human progress.(Chen Qiufan,Waste Tide, 2019,8)
Chen Qiufan is a constant consumer of entertainment and literature. He watches at least 100 new films and reads at least 50 books a year. He was recently recruited into the development of a television series called Eros, which will launch in 2019-2020. He compares it to Netflix's dystopian show Black Mirror. Chen travels frequently between Beijing, Shanghai and Hong Kong for various projects and literary festivals.(Chen Qiufan,Waste Tide,2019,17)
3.Rebecca F. Kuang (匡灵秀)
When Rebecca was four years old, her family emigrated to the United States from Guangzhou, China. Kuang's father grew up in Leiyang, in Hunan province, and his mother in Hainan Island.Quang grew up in Dallas, Texas, and later went to Georgetown University in large part because of the college's discussion team. Kuang began writing The Opium War when she worked as a debate trainer in China during a break from her studies. Rebecca always liked writing, but she was afraid that an education related to literature might not give her a profession in demand. But during the direct work on the book, she completed several literary courses. As a result, her first novel was published when she was only 22 years old.Rebecca graduated from the university in June 2018. She further attended Magdalene College, Cambridge University as a recipient of the 2018 Marshall Fellowship, where she earned her Master of Philosophy in Sinology. She is currently pursuing a Master's Degree in Contemporary Sinology from Oxford University.(Rebecca F.Kuang, The Poppy War,2018,4) Her debut novel, The Opium War, is a war fantasy setting inspired by the history and culture of China. The Opium War is a dark fantasy genre. The plot is largely based on the history of China in the middle of the 20th century. The conflict refers to the Second Sino-Japanese War, but the scenery is inspired by the Song Dynasty. The novel accurately recreates the social, mythological, and philosophical realities of China of the chosen era.(Rebecca F.Kuang, The Poppy War,2018,7)
The last news about R.F.Kuang is that she wrote a short tale for an anthology of Star Wars saga, which was published in November. She wrote about this news in her Twitter.(Twitter 2020)
Terms and Expressions
1. Science fiction - 科幻
2. Fantasy - 奇幻
3. Horizon - 地平线
4. Broad - 拓宽
5. Hybrid - 杂种
6. The plot - 情节
7. Garbage - 垃圾堆
8. Heyday - 壮年
9. Supernova - 超新星
References
- Alexandra Alter, How Chinese Sci-Fi Conquered America, 2019. https://www.nytimes.com/2019/12/03/magazine/ken-liu-three-body-problem-chinese-science-fiction.html
- Chen Qiufan 陈楸帆. (2019). Waste Tide 荒潮. Tor Books; Translation edition. Translated by Ken Liu - 342 pp.
- Liu Cixin 刘慈欣. (2019). Supernova Era 超新星纪元. Tor Books; First Edition. Translated by Joel Martinsen - 352 pp.
- Rebecca F.Kuang 匡灵秀. (2018). The Poppy War 罂粟战争. Harper Voyager - 530 pp.
- Michiko Kakutani, Obama’s Secret to Surviving the White House Years: Books. The New York Times, 2017. https://www.nytimes.com/2017/01/16/books/obamas-secret-to-surviving-the-white-house-years-books.html
- Twitter.https://twitter.com/kuangrf
Questions
1. What is the name of the most important tilogy of books written by Liu Cixin?
2. What is the most popular trilogy of books written by Liu Cixin?
3. Who is called Chinese William Gibson?
4. What is Rebecca Quang's Opium War plot based on?
Answers
1. The Remembrance of Earth's Past
2. Memory of the Earth's Past
3. Chen Qiufan (陈楸帆）
4. The plot is largely based on the history of China in the middle of the 20th century.
Stilts - Chen Yongxiang 陈永相 202070080582 MTI 英语笔译
Chinese Intangible Cultural Heritage — Miliangtun Village Stilts
Introduction
Stilt is one of the folk dances of the Han nationality in our country, which is called "Stilt Yangko" in some places. Stilt-walkers tie their feet onto the long stilts with various length, the shortest being two feet long, and the longest reaching over five feet. Normally, stilt-walkers are taller than ordinary people. They dress themselves into different historical or mythological figures, walking and dancing on fairs and movable stages, which is convenient for watching far and near. (Huo Linmo, 2018)
As a traditional folk dance in Beijing, Miliangtun Village Stilts originates from "Tongle Gaojiaohui"(同乐高脚会）founded in the Qianlong period of the Qing Dynasty and bestowed by Emperor Qianlong. According to the older generation in the village, Miliangtun Village Stilts was first founded by several villagers led by Uncle Ma, who lived in Miliangtun Village and worked in Beijing over 250 years ago. (Xingxing, 2019)
Miliangtun Village Stilts is not only time-honored, but also mysterious and legendary. It still retains the traditions in performance techniques, characters, musical accompaniment, etiquette, and stilts production technology, which is an excellent performing art that is spread among the folks. In 2006, it was listed as a Beijing-level intangible cultural heritage. (Xingxing, 2019)
The team of Miliangtun Village Stilts has over forty people and 13 roles all played by men. The roles are Tuotou, Laozuozi, young boy, young master, Mr. Plaster, Choupo, fisherman, Yupo, wood-cutter, handsome and ugly drum-players, handsome and ugly gong-players. Tuotou, fisherman and wood-cutter are righteous and decent images, while zany figures represent the negative images, like Choupo, young boy and Laozuozi who are responsible for enlivening the atmosphere and entertaining the audience. Such a stark contrast is quite ironic in these funny characters. (Xingxing, 2019)
The only serious character among the 13 roles is Tuotou. Because he is a general who can be easily recognized upon his appearance. Squatting and carrying swords are his signature tricks. Others like the young boy, a little kid who amuses everyone. Mr. Plaster is responsible for warming up. He is outstanding because he can play and amuse with others, like Yupo or Laozuozi. Fisherman is just a workingman. He is not funny. He plays the trick of going fishing because that's his character setting. Wood-cutter is also a workingman who can play other tricks besides squatting. Yupo is the young lady in the past, and Laozuozi is the housewife. Wood-cutter and Mr. Plaster can play and amuse with them. The handsome and ugly drum-players and gong-players are quite important in the backfield when the show begins. They play drums and gongs to accompany the performance and amuse the audience. (Xingxing, 2019)
The show of Kylin Songzi (麒麟送子), which indicates good luck and peace, marks the end of the whole performance. Tuotou lies down flat, the young boy riding on his waist like a living lion. Mr. Plaster and young master raise their waists with Yupo dancing Yangko behind. Fisherman uses his ribbon to drag Tuotou who holds the ribbon in his mouth. When it's done, the show is over. That's the whole performance. (Xingxing, 2019)
As a renowned fair, Miliangtun Village Stilts is characterized by risky tricks, various skills and great difficulty. There are stunning tricks such as Yasha Searches the Sea, Su Qin Carries Swords, squatting, bouncing, hugging, somersault, and scorpion tail pendulum. Stilts performances focus on amusement, Tuotou being the opening, other roles flatter him with various and difficult tricks, constituting the grand show. (Xingxing, 2019)
The length of Miliangtun Village Stilts, 1.6 meters, is quite rare in the stilt fairs of the country. Stilt-walkers control the balance with their waists. They must bend their knees slightly and keep moving when walking on stilts. The upper body and their feet must be coordinated, and swing from side to side to ensure the balance when stepping on the wooden stilts. The movement of the lower body leads the upper body to shake and shrug. The stilts are lifted lightly but stepped hardly, with the force on the knees, forming into a style of combining the tricks of twisting, swinging and amusing. (Xingxing, 2019)
There is strict inheritance relationship and etiquette in the stilt fair, which will set up inheritors, presidents, team leaders, and team members. As the distinctive folklore in Wangzuo Town, Fengtai District, Beijing, Miliangtun Village Stilts stands out among the stilt fairs and enjoys great popularity from peers and the public. It is visually stunning, technically accomplished and naturally funny, which is divided into lead in, head stilts command, and separation performance, forming into a fixed set of performance routines after long-term drills since the establishment. Miliangtun Village Stilts has become an indispensable part of local festivals and celebrations with its lively atmosphere and superb skills and adds value to the cultural life of the folks. (Sun Miao, 2018)
Terms and Expressions
Miliangtun (village name) 米粮屯
stilts 高跷
intangible cultural heritage 非物质文化遗产
folk dance 民间舞蹈
Toutou 陀头
Laozuozi 老坐子
young boy 小二哥
young master 公子
Mr.Plaster 药先生
Choupo 丑婆
fisherman渔翁
Yupo 渔婆
wood-cutter 柴翁
handsome and ugly drum-players 俊鼓和丑鼓
handsome and ugly gong-players 俊锣和丑锣
Questions
1. Where does Miliangtun Village Stilts originate?
2. How many years of history does Miliangtun Village Stilts have?
3. How many roles in Miliangtun Village Stilts?
4. When was Miliangtun Village Stilts listed as the intangible cultural heritage?
5. How long is the shortest and the longest stilts?
Answers
1. Wangzuo Town, Fengtai District, Beijing.
2. More than 250 years.
3. 13.
4. In 2006.
5. The shortest stilt is two feet long, and the longest reaches over five feet.
References
Huo Linmo 霍淋漠. (2018). 高碑店市河头村高跷会考察与研究 [Investigation and research on stilts fair in Hetou Village, Gaobeidian City]. Hebe: Hebei University 河北大学.
Sun Miao 孙淼. (2018). "一跷多艺": 胜芳高跷会的舞体表征与比较研究 ["Multi-skills with one stilt": A comparative study of the dance style of Shengfang stilt fair]. 长江丛刊 [Yangtze River Series] (24)18.
Xingxing 邢星. (2019). 米粮屯高跷 [Miliangtun Village Stilts]. https://baike.baidu.com/item/%E7%B1%B3%E7%B2%AE%E5%B1%AF%E9%AB%98%E8%B7%B7%E4%BC%9A/12762743?fr=aladdin
非物质文化遗产米粮屯高跷 [Intangible cultural heritage Miliangtun Village Stilts] (2019). https://baijiahao.baidu.com/s?id=1643344511003907548&wfr=spider&for=pc
--Chen Yongxiang (talk) 05:20, 21 December 2020 (UTC)
Chinese Lion Dancing - Ding Daifeng 丁代凤 202070080583 MTI英语笔译
Introduction
Lion dancing is a traditional folk art with a history of about 2000 years, which is often performed in big events and festivals. Nowadays, it is generally believed that lion is the king of beasts and is a symbol of good fortune. However, there was no lion in ancient China. According to historical records, lions were introduced to China through the Silk Road from the Western Regions during the Han Dynasty.(Zhang Yanqing 2003,77)
When lions were first introduced into China, their ferocious images were unacceptable. Later, due to the spread of Buddhism, the image of lions changed fundamentally in people's minds. Because lion is the mount of Manjusri Bodhisattva who is a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.(Zhang Yanqing 2003,78) In Europe, the image of lion has not been deified, but is still the king of beasts, symbolizing bravery, strength and supreme power. Many nobles use lion as a symbol.
There are a number of stories about the origin of lion dance. Here is one of the sayings. During the Ming Dynasty, it was said that a monster always damaged crops in Guangdong province at the end of the year. Local people called it "Nian". In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.(Zhang Guobin 2019,157)
In lion dance, lions are made of colorful cloth strips, and each lion is usually performed by two people, one handling the head and the other moving the body and tail. Under the music of gongs and drums, performers dress up as lions and make various forms of lion movements. The lion dance is an art which combines martial arts, dance and music together. Originating in the Han Dynasty, lion dance has prevailed among Chinese people and spread throughout all over China since the Tang Dynasty. There are mainly two kinds of lion dance in China: northern lion dancing and southern lion dancing.(Yu Zhaojie 2008,76)
Northern lion dancing
The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion. The lion's head is relatively simple, with golden hair all over its body. The pants and shoes of lion dancers are covered with fur, and even the pants and shoes of performers are the same color as the legs of real lions, so they can perform more vividly. Little lion dance is performed by one person, and the big lion dance is performed by two people.(Yu Zhaojie 2008,76)
Northern lions usually appear in pairs. The lions with red knots on their heads are males and those with green knots are females. Guided by the man who holds the colorful silk ball, lion dancers perform all kinds of lion’s movements. Apart from the usual jumping, falling and tumbling, performers will also show their excellent techniques by climbing upon a high table or by stepping on five wooden stakes, so as to show the lion's boldness and bravery.(Yu Zhaojie 2008,76)
Southern lion dancing
Different from the northern lion dancing, southern lion dancing attaches more importance to spiritual resemblance. With its center in southern China’s Guangdong province, southern lion dancing is popular in Hong Kong, Macao and Southeast Asia. Southern lion, also called awake lion, is developed and evolved from northern lion. The head of southern lion has three colors, namely black, red and yellow. It is called "Liu Bei lion", "Guan Gong lion" and "Zhang Fei lion", which respectively represent the character of Liu, Guan and Zhang, the three sworn brothers who found the Shu kingdom(AD 221-263). Guan Gong lion performs bravely, Zhang Fei lion's action is rough and belligerent, and Liu Bei lion is calm and powerful. Southern lion dancing pays attention to facial expression, and their facial expressions are always vivid and expressive. There are many movements in the southern lion dancing, dancers use different "Ma Bu" or horse stances, coupled with the movements of lion head, to show a variety of shapes.(Yu Zhaojie 2008,76)
Dancers usually perform the traditional custom of “Cai Qing”, literally meaning "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming. People use lettuces as greens and hang them with red envelopes. The lion dancers perform in front of the greens with hesitation, then finally jump up and eat the lettuces in one gulp. (Yu Zhaojie 2008,76)
In recent years, in order to maintain the characteristics of the traditional Chinese lion dance, the southern lion dancing and the northern lion dancing complement each other and improve together. (Liu Xing 2019,39)
Terms and Expressions
Western Regions 西域
mount 坐骑
Manjusri Bodhisattva 文殊菩萨
gong 锣
northern lion dancing 南狮
southern lion dancing 北狮
colorful silk ball 绣球
wooden stakes 木桩
spiritual resemblance神似
Liu Bei lion 刘备狮
Guan Gong lion 关公狮
Zhang Fei lion 张飞狮
sworn brothers 结义兄弟
horse stances 马步
Cai Qing 采青
lettuces 生菜
Questions
1. How long is the history of lion dance in China?
2. Why did people gradually accept lion as a sacred animal?
3. Why did people use lion dance to celebrate the New Year?
4. What is the main difference between southern lion dancing and northern lion dancing?
5. What is the center of southern lion dancing?
6. How many colors are there in the heads of southern lions? And what are they?
7. What is “Cai Qing”? And what do you know about “Cai Qing”?
Answers
1. It is with a history of about 2000 years.
2. Because lion is the mount of Manjusri Bodhisattva, a symbol of wisdom, people gradually have a good impression on lion, which is considered as a sacred animal to protect Buddha.
3. In order to drive the monster away, the local farmers thought of making a lion model to intimidate the monster. The monster ran away immediately after seeing the "lion", so people believed that the lion was a god beast and a symbol of auspiciousness. From then on, people will use lion dance to celebrate the New Year.
4. The northern lion dancing pays attention to form and the appearance and the northern lion looks like a real lion, but southern lion dancing attaches more importance to spiritual resemblance.
5. It is in southern China’s Guangdong province.
6. The head of southern lion has three colors, namely black, red and yellow.
7. It means "plucking the greens", which is the most common step in the performance of the southern lion dancing. It is said that "Cai Qing" originally meant opposing the Qing Dynasty, but now it is interpreted as "vigorous", which means that the business is booming.
References
Liu Xing刘兴.(2019). 从文化结构看舞龙舞狮运动的现代化发展[Modern Development of Dragon and Lion Dance from the Perspective of Cultural Structure]. 体育师友Sports Teachers and Friends 42(04): 37-39.
Yu Zhaojie于兆杰.(2008).中国舞狮的起源及其发展演变[The Origin and Development of Lion Dance in China]. 搏击. 武术科学Wushu Science (06): 75-76.
Zhang Guobin张国斌.(2019).中国传统舞龙舞狮运动历史文化探索及传播研究[Research on the Historical and Cultural Exploration and Dissemination of Chinese Traditional Dragon and Lion Dance]. 散文百家Prose Hundred (10): 157-158.
Zhang Yanqing张延庆.(2003). 中国舞狮的起源与文化演变[Origin and Cultural Evolution of Lion Dancing in China]. 体育文化导刊Sports Culture Guide (11): 77-78.--Ding Daifeng (talk) 16:32, 20 December 2020 (UTC)
Literature, Tang-Song - Gan Fengyu 甘奉玉 202070080584 英语笔译
A. The Eight Tang-Song Prose Masters
Brief Introduction of The Eight Tang-Song Prose Masters
The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. Among them, Han Yu and Liu Zongyuan are the leaders of the Ancient Prose Movement in the Tang Dynasty, while Ouyang Xiu and "Three Su"(Su Xun, Su shi, Su Zhe) are the core figures of the Ancient Prose Movement in the Song Dynasty. Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Among the "Three Su"(Su Xun, Su shi, Su Zhe), Su Xun is their father and Su Shi is the older brother.Su Shi, together with Wang Anshi and Zeng Gong,was the student of Ouyang Xiu. （Zhou Zhenfu 2016, 25)
In a word, they all advocated prose and opposed parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their successive waves of innovation of ancient prose has changed the obsolete appearence of poetry and prose.(Fang Wenben 2013, 1)
1. Han Yu
Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was a native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as "The Decline of Eight Generations" by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasties. Han Yu was called "Han Liu" with Liu Zongyuan, and his proses were juxtaposed with Du Fu's poems as "Du poem Han pen" by Du Mu. He enjoyed the fame as "The Article Giant" and "Admired Literate of One Hundred Generations" with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory.(Hou Benta 2014, 135)
Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.(He Lei 2017, 159)
2. Liu Zongyuan
Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong, now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong", " Mr. Hedong ", as well as "Liu Liuzhou" because of his official end of feudal provincial of Liuzhou. He was born in Chang'an and became a Jinshi in the 9th year of Zhenyuan, later official supervisor of imperial censor.
He was juxtaposed with Han Yu as "Han Liu", with Liu Yuxi as "Liu Liu", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong Colloection" was one of his representatives.(Zhou Zhenfu 2016, 26)
He was a deep-thinking philosopher and great litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude to writing. That means, it is important for the writer to have highly moral cultivation.(Zhangjian 2019, 1)
3. Ouyang Xiu
Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the "Liu Yi scholar", which means that he had ten thousand volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone. He was born in Mianzhou, now Mianyang city in Sichuan province, whose hometown is Jizhou Yongfeng, now Yongfeng county of Ji'an city in Jiangxi province.
Ouyang Xiu's poem, Ci and prose were all the crown of that time. His poem was smooth, lyrical and euphemistic with a similar prose style, which stresses on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was one of his representatives.
Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu's ancient prose, and pioneered the Northern Song Dynasty poetry innovation movement. As the leader of this movement, he not only drove away the old style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation by virtue of his own unique style and high talent. He has made new achievements and pushed the creation of poetry and prose to a new height.(Hou Benta 2014, 136)
4. Su Xun
Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. At the age of 19, he married Mrs. Cheng. Later he determined to study hard at the age of 27. After a decade of hard work, he made huge progress in his academic field.
Su Xun was a man full of political ambition. He said that the main purpose of his works was "to speak for the world", and to "apply to the present". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Owing to his great understanding of social reality, he was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot.
5. Su Shi
Su Shi, with a fame as "Dongpo Jushi", was a native in Meishan in Sichuan. He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty.
Su Shi was called "the first all-round talent in ancient China". He was regarded as one of the most outstanding men in literary and artistic attainments in thousands of years of Chinese history. He was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area,.(Zhou Zhenfu 2016, 28)
Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage.(Zhangjian 2019, 1) Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called "Su Men Four bachelors".
6. Su Zhe
Su Zhe was born in Meishan, Meizhou, now Sichuan province. In the the second year of Jiayou(AD 1057), Su Zhe, together with his brother Su Shi, climbed jinshi branch.
Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He performed well in politics and history. In his political works such as The New Theory and the Six States, he mostly discussed world affairs. From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode, such as his work the "Ode to Ink bamboo".(Zhou Zhenfu 2016, 29)
7. Wang Anshi
Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jingguo. He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province.
Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature should aim to serve the society first. That means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary opinions of enlightenment of political decrees for world use.(Zhou Zhenfu 2016, 30)
8. Zeng Gong
Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In the second year of Jiayou(AD 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng", including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.
Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text.(Zhangjian 2019,1) His prose was natural and simple with little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative.(Zhou Zhenfu 2016,31) His prose was good at making arguments such as the Book to Ouyang She Ren, the Book to Bachelor CAI. In those works, he argued on the treatment of disorder and expressed his deep feelings.
9. Comparison between the Ancient Prose Movement and Renaissance
Although there were seven or eight hundred years from the Ancient Prose Movement to the Italian Renaissance,they both happened in the middle ancient period of their history respectively. Similarly, they both inherited the essence of classical culture and further completed the historical mission of literary retro. So we can regard them as historical peak in their cultures.(Lu Sihong 2016, 71)
Comparison in ideology:
The Ancient Prose Movement in Tang and Song dynasties advocated the restoration of Confucianism of the Pre-Qin and Han Dynasties and the realization of the realistic goal of carrying the Tao in literature.(Lu Sihong 2016, 73) It was against the parallel prose and the floating style since the Six Dynasties but for the gentle and honest poetic concept. While the Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.(Wang Yaping 2001, 8) Their premise and foundation are their own classical thoughts.
Comparison in writing style:
The two retro movements were marked by the retro style to restore the creation mode of ancient prose, thus promoting the process of literary movement. The Ancient Prose Movement of in Tang and Song Dynasties studied the simple language style of the Pre-Qin and Han Dynasties, while the Renaissance restored the elegant and beautiful characteristics of the ancient Greek.(Lu Sihong 2016, 76)
Comparison in literary form:
The Ancient Prose Movement not only corrected the floating and rigid writing style of the Six Dynasties, but also laid a good foundation for the development of prose in later generations. It was in the form of scattered single sentences with less flowery and redundant allusions but more in colloquial language.(He Lei 2017, 159) Although the literary works of the Renaissance inherited the elegant style of classicism, it still changed obviously in the aspect of stylistic creation. Influenced by literary theories and works, Italian literature showed innovation in form. As Mr. Zhu Guangqian said: "Italian literature is a new type of literature different from classical literature.(Lu Sihong 2016,81)
B. Terms and Expressions
The Eight Tang-Song Prose Masters 唐宋八大家
Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》
Ancient Prose Movement 古文运动
parallel prose 骈文
The Decline of Eight Generations 文起八代之衰
The Article Giant 文章巨公
Admired Literate of One Hundred Generations 百代文宗
Han Changli Collection 《韩昌黎集》
External collection 《外集》
The Teacher's Theory《师说》
Pre-Qin and Han Dynasties 先秦两汉时期
writing in classical Chinese 文言文
feudal provincial of Liuzhou 柳州刺史
official supervisor of imperial censor 监察御史
Liu He Dong Colloection 《柳河东集》
Northern Song Dynasty 北宋
a thousand volumes of collections of inscriptions 金石遗文一千卷
Xia, Shang, Zhou Dynasties 三代
the crown of that time 一时之冠
Southern Tang Dynasty 南唐
Yu Feng 余风
The Anthology of Ouyang Wenzhong Gong 《欧阳文忠公文集》
the Northern Song Dynasty poetry innovation movement北宋诗文革新运动
Heng Lun 《衡论》
Duke Jingguo 荆国公
The Book to the Emperor 《上皇帝书》
Dongpo Jushi 东坡居士
Ci writer 词人
Unconstrained Ci School豪放派
literary and artistic attainments 文学艺术造诣
the first all-round talent in ancient China 中国古代第一全才
Su Men Four bachelors 苏门四学士
the Book to Han Tai Wei in Privy Council 《上枢密韩太尉书》
The New Theory《新论》
On the Six Kingdoms 《六国论》
Ode 赋
The Ode to Ink bamboo 《墨竹赋》
Seven Zengs of Nanfeng 南丰七曾
the doctrine before the text先道后文
the Book to Ouyang She Ren 《上欧阳舍人书》
the Book to Bachelor Cai 《上蔡学士书》
the Six Dynasties 六朝
C. Questions
1.Who are the pioneers of the Ancient Prose Movement?
2.Which kind of prose they advocate in the Ancient Prose Movement?
3.Do you know any representative work of Liu Zongyuan?
4.Why Ouyang Xiu is called "Liu Yi Scholar"?
5.What’s the relationship among Su Xun, Su Shi and Su Zhe?
6.Who are the "Seven Zengs of Nanfeng"?
7.Do you know any about the Renaissance?
D. Answers
1.Han Yu and Liu Zongyuan.
2.The prose of Pre-Qin and Han Dynasties.
3.The "Liu He Dong Colloection".
4.Because he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk man alone.
5.Su Xun is the father of Su Shi and Su Zhe and Su Shi is the older brother.
6.Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.
7.The Renaissance, with classical culture as a tool, strongly criticized medieval theology and carried forward the humanism and scientific rational spirit of ancient Greece and Rome.
References
Fang Wenben 房本文.(2013).士族兴衰与骈散消长—唐代古文运动发微 [The rise and fall of nobles and parallel prose- The subtleties of the Ancient prose movement in the Tang Dynasty]. Nanjing: Nanjing University 南京大学.
Hou Benta 候本塔.(2014). 论唐、宋古文运动中的韩愈与欧阳修 [On Han Yu and Ouyang Xiu in the Tang and Song Dynasties]. 三峡大学学报(人文社会科学版) Journal of Three Gorges University (Humanities and Social Sciences edition) 36(S1):135-137.
He Lei 何蕾.(2017). 中唐古文运动：社会转型背景下的文体之变 [The Ancient Prose Movement in the Middle Tang Dynasty: Stylistic Changes in the Context of social transformation]. 青海社会科学 Qinghai Social Sciences (03):156-162.
Lu Sihong 芦思宏.(2016). 略论中西文学的复古倾向—以唐代古文运动与意大利文艺复兴为例 [On the retro tendency in Chinese and Western Literature -- a case study of the Ancient Prose Movement in Tang Dynasty and the Italian Renaissanc].中外文化与文论 Chinese and Foreign culture and literary theory (01):71-81.
Wang Yaping 王亚平.(2001). 论西欧中世纪的三次文艺复兴 [On the three Renaissance in The Middle Ages in Western Europe]. 东北师大学报 Journal of Northeast Normal University (06):1-8.
Zhangjian 张剑.(2019). 唐宋古文运动的文学维度 [The literary dimension of the Ancient Prose Movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 10-28(010).
Zhangjian 张剑.(2019). 唐宋古文运动的思想维度 [The ideological dimension of the Ancient Prose movement in Tang and Song Dynasties]. 人民政协报 People's Political Consultative Conference News 08-26(010).
Zhao Kun 赵鲲.(2016). 中国文学中的两大文学变革运动—古文运动与“五四”新文学运动之比较 [A comparison between the two major literary revolutions in Chinese literature - the Ancient Prose Movement and the May 4th New Literary Movement]. 解放军艺术学院学报 Journal of Pla Art Academy (01):113-119.
Zhou Zhenfu 周振甫.(2016). 唐宋八大家论 [On the eight masters in Tang and Song Dynasties]. 中华活页文选(教师版) Chinese Loose-leaf Selections (Teachers' edition) (12):25-31.--Gan Fengyu (talk) 01:38, 21 December 2020 (UTC)
Music, Instruments, Pipa - Gao Mingzhu 高明珠 - 202070080585 - MTI 英语笔译
1. A Brief Introduction
Pipa belongs to plucked stringed instruments. Being made of wood or bamboo, its speaker box takes the shape of half pear with 4 strings on it ,which was made of silk initially while being made of steel wire, steel rope or nylon now. The "Pin(品，those wooden strips on Pipa’s face plate for pressing)" and "Xiang（相, those horizontal strips on Pipa’s neck for pressing）" are set on the face plate and neck respectively to determine the positions of different sounds. When playing, the player holds it erectly using the left hand to press the string and the right hand to play. It is an important ethnic musical instrument which can be used in recital, accompaniment and ensemble. Pipa has a wide range of vocals. Its playing skills rank the first in Chinese national instruments and its performance forms are also the most abundant in Chinese folk music, it is thus called no. 1 in plucked instruments. (360baike 2020)
2.The Development of Pipa
The development of Chinese pipa has gone through four stages: first, the Qu Xiang pipa (curving-neck pipa）was introduced into China in the Eastern Jin Dynasty and became an important musical instrument. In the second stage, the art of pipa reached its peak in Tang Dynasty, turning a breakthrough in timbre and performance technology and realizing the Sinization. In the third stage, pipa in the Song and Yuan Dynasties with the requirements of vocal accompaniment to increase the grade and expand the range. In the fourth stage, in Ming and Qing Dynasties, large-scale pipa divertimentoes were further developed. (Deng Sijia 2020,10)
During the Wei, Jin and Southern and Northern Dynasties, the pipa was just introduced into the Central Plains. With the high frequency of population migration, the pipa spread to the South, especially to South of the Yangtze River. The pipa's playing style was just introduced into the Central Plains, but it still retained its strong Western characteristics. In the Western regions back then, the pipa playing was an on-horseback entertainment project, the initial pipa culture belonged to the nomadic music culture which was created by people who graze animals, hunt for food and ride horses without definite residence. All of these determined its unchained and heroic way of playing. And the unrestrained nature of nomad tribe determined the simple way of playing in pipa. There was only one way to play pipa, which was plucking the strings with fingers. In addition, the playing posture of pipa back then mainly was horizontal holding style. (Zhou Xianshun, Zhang Yuying 2018, 16)
During the Sui and Tang Dynasties, having experienced many years of exchanges between the nomadic culture of western regions and the traditional culture of Central Plains, pipa’s inherent western-region playing style gradually disappeared. Chinese traditional instrument playing style melted in its playing characteristics, and the pipa made great breakthroughs in playing skills and artistic expression and other aspects. During this period, pipa was still played mainly by plucking the strings, but it had changed from the original plucking to pointing, and the posture of playing changed from the initial horizontal holding style to vertical holding style. After receiving the baptism of Chinese traditional culture for hundreds of years, pipa's unrestrained playing style brought into the central Plains changed into an introverted and elegant playing style, and it also changed from a music playing on the horseback to a music playing in the court. The performance occasions had undergone a qualitative change, and the playing style was more of a minority and delicacy.(Zhou Xianshun, Zhang Yuying 2018,16)
During Song and Yuan Dynasties, the methods and skills of pipa performance were more mature, and the playing methods and postures had been formed. Compared with the Sui and Tang Dynasties, the pipa performance at this time was dominated by finger-playing, giving full play to the flexible playing function of the five fingers, and the posture of performance became dominated by vertical holding style. It can be seen that the range of the audience of pipa performance changed from small to large. Pipa performance was enjoyed by dignitaries and rich people at that time. Pipa performance was specially performed on large formal occasions to entertain and adjust the atmosphere on the scene.(Zhou Xianshun, Zhang Yuying 2018,16)
During Ming and Qing Dynasties, the way people played pipa still continued the finger-playing style in the Song and Yuan dynasties, and the posture of playing pipa remained upright. However, after inheriting the essence, players were more in pursuit of systematization, specialization and refinement of performance. As people did more studies on culture, the pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as to the style of pipa playing. What’s more, the studies on pipa mostly were conducted by scholars, thus the pipa playing took on literary characteristics. The change of pipa playing style also made its audience change, so not every class of the group can appreciate its beauty. (Zhou Xianshun, Zhang Yuying 2018, 16)
3.Pipa Schools and Their Chracteristics
The formation of Pipa schools in China was due to the southwards moving of the economic center in ancient China which made the pipa school be divided into the North School and the South School. Later, the North School collapsed and the South School broke up into various factions.(Deng Sijia 2020,10)
(1)The Wuxi School
The Wuxi School belongs to the original North School, and is different from the South School in terms of the tremolo. It plays a role as a connection in the development of pipa, laying a solid foundation for the development of later generations. Although Wuxi School was not as influential as the South School, it left a precious record in the expression of emotion in pipa art.(Deng Sijia 2020,10)
(2)The Pinghu School
The most distinctive performing techniques of the pipa are the Pinghu School's tremolo of the right hand fingers. It also has other characteristic techniques such as " paired butterfly flying" .(Deng Sijia 2020,10)
(3)The Pudong School
Pudong School is named after its birthplace. It is called Pudong School because it originated in Nanhui District of Shanghai. It was founded by Ju Shilin in the Qianlong Period of the Qing Dynasty and passed down from generation to generation. In the aspect of style, the imposing manner is strong, the timbre is forceful, the repertoire is both literary and military; In terms of playing skills, it has its own characteristics, including parallel string and so on.(Deng Sijia 2020,10)
(4)The Chongming School
The Chongming School also originated in Shanghai, and is called the Chongming School because it originated in Chongming Island. In terms of playing techniques, The Chongming School pursues to be clear and dense, sparse and vigorous, advocates the continuance in the slow, the order in the fast, and the soft and lively sound. In the aspect of emotional expression, it tends to be humorous and quiet, unique.(Deng Sijia 2020,10)
(5)The Shanghai School
This school gathers the characteristics of each school and has its own characteristics. In terms of playing techniques, it has created many new fingering techniques and most of the emotional expressions are characterized by masculinity and unrestraint.(Deng Sijia 2020,10)
4. Traditional Pipa Music
Traditional pipa music can be divided into military songs, literary songs and military-literary songs.
Military songs emphasize the playing skills and strength of the right hand. Its style is magnificent, generous and grand. The music focuses on narration being realistic and narrative. It is often narrated continuously according to the development of content and plot. It has a large structure, vivid and colorful plot, and distinct paragraphs.(Cheng Xuange 2020,29) The representative repertoires are "Ambush on All Sides(十面埋伏)", "Bury Me High(霸王卸甲)", "Hai Qing Hunting the Swan(海青拿天鹅)", "General Order in the Han Dynasty(汉将军令)".
Literary song emphasizes the expression of the left hand skill with the style of being exquisite, light, elegant and lyric. It is mainly for lyrical expression and rich in generality and talking. It often expresses the profound heart talking or the artistic conception that people are looking forward to with simple and moving melody or beautiful and fresh tone.(Cheng Xuange 2020,29) Its representative repertoires are "Flute and Drum at Sunset(夕阳箫鼓)", "Zhao Jun Going Abroad(昭君出塞)", "Autumn Moon over Han Palace(汉宫秋月)", "The Lofty Moon(月儿高)", "The Green Lotus(青莲乐府)", "Whisper from Pipa(琵琶语)", "Frontier Songs(塞上曲)" and so on.
Military-literary song is the combination of martial song and literary song. The representative songs are "The Spring Snow(阳春白雪)", "High Mountain and Flowing Water(高山流水)", "Dragon Boat(龙船)", "Flute and Drum at Sunset(夕阳箫鼓)" and so on. (Cheng Xuange 2020:51-52)
References
- 360百科 “琵琶”词条. (2020).[The introduction of pipa on 360 Baike website].https://baike.so.com/doc/4922064-5141209.html.2020
- Deng Sijia. 邓思佳 . (2020).中国琵琶流派问题及特征 [Schools and characteristics of Chinese pipa]. 艺术家 [Artist](10):56.
- Zhou Xianshun, Zhang Yuying. 周显顺, 张玉莹. (2018). 浅谈琵琶演奏的发展史 [A brief analysis of the development of the playing of pipa]. 黄河之声[Voice of the Yellow River] (16):56.
- Cheng Xuange. 成玄歌. (2020). 琵琶不同派别与文曲、武曲的关系——以平湖派和浦东派为例 [The relationship between literary songs and military songs and different schools of pipa -Taking Pinghu School and Pudong School as examples]. 艺术品鉴[Art Appreciation] (29):51-52.
Terms and Expressions
- 弹拨乐器—plucked instruments
- 汉化—Sinization
- 套曲—divertimentoes
- 游牧民族—nomad tribe
- 宫廷乐—court music
- 轮指法—tremolo
- 音色—timbre
- 曲目—repertoire
- 并弦—parallel string
- 指法—fingering techniques
Questions
1、How many stages did pipa go through during its development?
2、What characteristics did pipa have during Wei and Jin dynasties?
3、What changes had been made to pipa during Ming and Qing dynasties?
4、How many schools does pipa have and what are they?
5、Can you list at least 3 representative repertoires of literary songs played by pipa?
Answers
1、Four.
2、It still retained its strong western characteristics, and the playing way of it is unchained, heroic and simple.
3、The pipa playing performance became more systematic, which put limitations and restrictions to the theme as well as the style of pipa playing. What’s more, the studies on pipa mostly made by scholars, thus the pipa playing took the literary characteristics.
4、Five. They are Wuxi school, Pinghu school, Pudong School, Chongming school andShanghai school.
5、"Flute and Drum at Sunset", "Zhao Jun Going Abroad", "Autumn Moon over Han Palace", "The Lofty Moon", "The Green Lotus", "Whisper from Pipa", "Frontier Songs" .
Terms and Expressions
Mythology: Huli-jing - Grosheva, Anna - Student No. 201921080001. Major - Comparative Literature and Cross-Cultural Studies
Huli-jing figure in Chinese mythology and its analogs in Japan and Korea
The topic of werewolves is perhaps one of the most discussed and studied in the XXI century. Along with vampires and zombies, the image of werewolves is firmly entrenched in world cinema and literature. However, as a rule, speaking about the motives for the transformation of a person into an animal, most people have information mainly about lycanthropy, that is, about the specific transformation of a person into a wolf (werewolf). At the same time, the theme of werewolves is represented by a fairly large number of transformations of a person not only into a wolf but also into other animals. In Chinese mythology, one of the most popular werewolf myths is the myth of the Huli-jing or werewolf foxes. In the Middle Ages, these myths were very popular and in-demand among writers. But what is the attitude towards Huli-jing in modern China? Are they given a place in modern culture, or do werewolf foxes now sound more like a kind of atavism or a children's fairy tale? (Xu Zhonglin 1992, 57)
1. Huli-jing (狐狸精) in China
First, we need to recreate the image of the Huli-Jing and how it was seen in ancient and medieval China. Most often, the Huli-Jing was presented in the form of not just a young, but also an extremely beautiful women. Interestingly, the image of werewolf foxes has been known in China since the times of Xia dynasty and its founder Yu, who married a nine-tailed white fox who lived on Mount Tu. People, especially women, believed that due to the cult of the fox, they would be able to gain unearthly beauty and immortality. Official authorities of ancient and medieval dynasties tried to resist the representatives of the Huli Jing cult. During Song dynasty reign the cult of the fox, including the cult of Da Ji, was almost completely destroyed. However, the cult and image of Huli Jing were not fully eradicated in other parts of China. Probably, a more competent decision in between acolytes area was made to give the werefox woman more kind and compassionate traits, which in one way or another should justify her image compared to the cruel ancestor. (Kang Xiaofei 2006, 206)
Perhaps the most striking examples of where the changed image of the Huli Jing can be found in the stories of Pu Songlin about werewolf foxes. It is his stories, where girls are subject to the curse of turning into foxes, that reflect their position as hostages of their own life situations or even fears. The theme of fatal love in the stories of werefoxes appears as a continuous line in Pu Songling tales. This suggests that despite the fact that Huli Jing strives for happiness, she remains a spirit that is not a person. In addition, despite the altered level of female foxes, they will still bear the curse of their savage ancestors, who personified evil in its purest form, and therefore there can be no happy ending for those who bear such heavy punishment. (Pu Song-ling 2008, 187)
In the 21st century, the image of Huli Jing as a mythological character was constantly supplemented with small details. We can say that most of the works of literature and cinema, in which the werewolf fox was encountered, were very strongly romanticized. Remaining in its own way a relatively neutral character, Huli Jing nevertheless gradually becomes one of the most popular characters of many writers and screenwriters, not only in China but also in many other countries. A striking and original example of where the Huli Jing appears is the work of the writer Ken Liu entitled "Good Hunt". The author presents not only a very interesting view of the Huli Jing but also explains why the legendary characters of Chinese mythology are gradually disappearing from the memory of the Chinese people. (Ken Liu 2012, 202.)
In addition to literary works, the Huli Jing is quite often encountered in Chinese cinema, as an episodic character or a protagonist. One of the most striking images of a werewolf fox can be considered the film "Painted Skin (畫皮)", where the main character is Huli Jing and must eat men's hearts to maintain her youth and beauty. This film is based on a story of Pu Songling and is one of the key works of cinema and modern Chinese culture, which fully reveals the tragedy of the werewolf fox. Besides, Huli Jing is featured in a fairly large number of Chinese television series, each of which gives its own view of what the character of Huli Jing should be. (Wikipedia 2020a)
Quite a lot of information about werewolf foxes can be obtained from the TV series "The Legend of the Nine-Tailed Fox" released in 2016. The main interest here is not only a rather vivid description of the Huli Jing, which according to the plot are a family and are forced to seek and return to their place the sacred fruit from the magic garden. This, perhaps, is an attempt to provide an explanation of the true nature of werewolf foxes, who for a long time rushed from good to evil. (Wikipedia 2020b)
To sum up, I would like to note that the transformation of the image of Huli Jing took place at a gradual pace. Since the reign of the ancient Chinese dynasties, the image of werefoxes has been predominantly negative and associated with deceit, seduction, and intrigue. But further, the situation changed in connection with the development of the cults of foxes, which they tried to give the appearance of “victims of circumstances,” - all the negative features are just a slight exaggeration. Thanks to Pu Songling, the Huli Jing truly became much more positive beings, and the stories about them were presented in terms of stories of unfortunate and unhappy love. The appearance of the Huli Jing, which rushes from good to evil for many years, has been romanticized and transformed, becoming a more positive character, although not devoid of some negative features. (Pu Songling 2008, 141)
2. Kitsune (キツネ) in Japan
In Japanese folklore, these animals have great knowledge, long life, and magical abilities. Chief among them is the ability to take shapeshift themselves; the fox, according to legend, learns to do this after reaching a certain age (usually a hundred years old, although in some legends it is fifty). Kitsune usually take the form of seductive beauty, a pretty young girl, but sometimes they turn into men. It should be noted that in Japanese mythology there was a mixture of indigenous Japanese beliefs that characterized the fox as an attribute of the god Inari ("Fox-messenger") and the Chinese, who considered foxes to be werewolves, a genus close to demons. Other abilities commonly ascribed to kitsune include the ability to take possession of other people's bodies, to breathe out or otherwise create fire, to appear in other people's dreams, and the ability to create illusions so complex that they are almost indistinguishable from reality. Some of the legends go further, talking about kitsune with the ability to warp space and time, drive people crazy, or take on such inhuman or fantastic forms as trees of indescribable height or the second moon in the sky. (Bathgate 2004, 102)
Kitsunes are associated with both Shinto and Buddhist beliefs. In Shinto, kitsune are associated with Inari, the patron deity of rice fields and entrepreneurship. Initially, foxes were the messengers (tsukai) of this deity, but now the difference between them has become so blurred that Inari is sometimes depicted as a fox by himself. In Buddhism, they gained fame thanks to the Shingon school of secret Buddhism, popular in the 9th-10th centuries in Japan, one of the main deities of which, Dakini, was depicted riding a fox across the sky. A kitsune can have up to nine tails. In general, it is believed that the older and stronger the foxes are, the more tails they have. Some sources even claim that a kitsune grows an extra tail every hundred or thousand years of its life. However, foxes found in fairy tales almost always have one, five, or nine tails. When kitsune are given nine tails, their fur turns silvery, white, or gold. (Bathgate 2004, 96)
3. Kumiho (구미호) in Korea
Kumiho - (구 "ku" - nine, 미 "mi" - tail, 호 "ho" - fox - "fox with nine tails") is a folklore animal, the fox of which is first mentioned in the era of Gojoseon. According to legends, only a fox that lives for a thousand years can become 구미호. One of her superpowers is, to be able to transform into a beautiful girl. Although in myths there are also references to becoming a charming young man. In this form, the mythical animal fell in love with the opposite sex, and then ate their liver (according to some beliefs, and the heart). Why exactly the liver? We can say that the liver contains human energy, that is, we eat and receive the energy that our liver stores. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. Kumiho can transform into a human if one of three conditions is met: she refrains from eating corpses and killing people for a thousand days; the person who recognized her as Kumiho when she is in human form will keep this secret for ten years; Kumiho will eat the liver of thousands of men over a thousand years (if this does not happen, it will disintegrate into many small bubbles); the first condition (then reduced to a hundred days) is sometimes added to the offer of help to any person who will need it. (Johnson 1974, 37).
Terms and Expressions
Shapeshifter – 成精
Creature –生物
Seductive –诱人的
Damnation –诅咒
Metaphor –隐喻
Ascribe –属性
Indigenous –土着
Deity – 反面人物
Liver – 肝脏
References
- Bathgate, Michael 迈克尔·巴斯盖特 (2004). The Fox's Craft in Japanese Religion and Folklore: Shapeshifters, Transformations, and Duplicities. 狐狸在日本宗教和民间传说中的手工艺：变身者，转变和重复. // Routledge. -2004. - 190.
- Johnson T. W. 约翰逊 (1974). Far Eastern Fox Lore 远东狐狸传说 // Asian Folklore Studies, Vol. 33. No.1. 亚洲民间传说研究，第 33.第一. - 1974. - 35–68.
- Pu Song-ling 蒲松龄. (2008). Fox charm. Monks-wizards. 狐狸的魅力. 僧侣向导. // Eastern literature 东方文学. – 2008. - 280.
- Kang Xiaofei 康小飞. (2006). The cult of the fox: Power, gender, and popular religion in late imperial and modern China. 狐狸的崇拜：帝国晚期和近代中国//Columbia University Press 哥伦比亚大学出版社的权力，性别和大众宗教. – New York 纽约, 2006. – 269.
- Ken Liu 刘坚. (2012). Good Hunting 狩猎愉快.// Strange Horizons 奇怪的地平线. - 2012. - 431.
- Xu Zhonglin. 徐忠林. (1992). Creation of the Gods 上帝的创造.// Translated by Gu Zhizhong 顾志忠译. – Beijing 北京, 551.
- Wikipedia 维基百科. (2020a). - Painted Skin (2008 film) 畫皮 (2008年電影) - https://zh.wikipedia.org/wiki/%E7%95%AB%E7%9A%AE_(2008%E5%B9%B4%E9%9B%BB%E5%BD%B1)
- Wikipedia 维基百科. (2020b). - Legend of Nine Tails Fox 青丘狐传说 - https://en.wikipedia.org/wiki/Legend_of_Nine_Tails_Fox
Questions
1. What was the attitude towards the Huli Jing in Ancient China?
2. Can we characterize Kitsune as a positive or negative character?
3. Could Kumiho become human forever?
Answers
1. Initially, in ancient China, Huli Jing was perceived in a negative context. Only later, towards the Middle Ages, the attitude towards them changed and people began to perceive them as victims of circumstances.
2. In Japanese mythology, Kitsune was not unambiguously good or bad creatures.
3. In a later period, Kumiho, according to numerous legends, could get rid of the status of a monster and become a man forever. References ..................
Chinese Characters - Gu Dongfang 顾东方 - 202070080635 - Interpretation 英语口译
Chinese Characters
Origin
Chinese characters, also known as Hanzi (漢字) are one of the earliest forms of written languages in the world, dating back approximately five thousand years. However, script developed a few thousand years earlier in Mesopotamia (today's Iraque) and Ancient Egypt. According to legend, Chinese characters were invented earlier by Cangjie (c. 2650 B.C.E.), a bureaucrat under the legendary emperor, Fu Hsi. The legend tells that Cangjie was hunting on Mount Yangxu (today Shanxi) when he saw a tortoise whose veins caught his curiosity. Inspired by the possibility of a logical relation of those veins, he studied the animals of the world, the landscape of the earth, and the stars in the sky, and invented a symbolic system called zì—Chinese characters. It was said that on the day the characters were born, Chinese heard the devil mourning, and saw crops falling like rain, as it marked the beginning of civilization, for good and for bad.（Boltz, William G. 2003）
Evolution of Chinese characters
Chinese characters from the earliest Chinese hieroglyphs to today’s simple characters have undergone through a very long process of development which can be divided into two periods: ancient writing and modern writing. Associated with these two periods, Chinese characters had experienced several times of evolution into many different script forms. Oracle bone script of the Shang Dynasty (1711–1066 BC) is the earliest systematic form of Chinese characters inscribed on animal bones and tortoise shells. Then Chinese characters evolved through the bronze script of the Zhou Dynasty (1066–256 century BC), seal scrip in the late Zhou Dynasty and Qin Dynasty (221–206 BC), official script in the Qin Dynasty and the Han Dynasty (206 BC-220 AD) and regular script. Based on pictographs, Chinese characters gradually developed from the form of drawings to strokes and from complex to simple ones.(Wang Xianchun 2002)
Ancient Chinese characters
Oracle bone script
Oracle bone script (Chinese: 甲骨文, Pinyin: jiăgŭwén) is the inscription on animal bones and tortoise shells of the Shang Dynasty (1711–1066 BC). They was first excavated by local farmers in Xiaotun Village, Anyang, Henan Province and was sold as a kind of traditional Chinese medicine called “long” (dragon bones).
Bronze script
In the “Age of Bronze Ware” of China during the period of Shang and Zhou Dynasties, bronze ware was cast as a container, and most often as the sacrificial vessels to inscribe great events such as sacrifice, battle results, trade of slaves, etc. in a style just like the oracle bone script. In the Shang Dynasty, the inscriptions on bronze ware had very few characters, the form of which is extremely close to that of the oracle bone script. The size, complexity, formation of the Chinese characters are inconsistent. However, in the Zhou Dynasty, the characters in bronze inscriptions were simpler, and the size and formation were more fixed. The bronze inscriptions looked like drawings but had made significant progress from pictographic forms to block-shaped linear characters we use today.（Yu Xinjia and Xue Ruijia，2005）
Seal script
Toward the end of the Zhou Dynasty, a new script called the “seal script” (Chinese: 篆书, Pinyin: zhuànshū) begun to be used in Qin State. This script was usually written on bamboo slips and pieces of silk or inscribed on rocks and stones. Owing to the regular and symmetric structure, rounded and graceful lines, it is deemed to be the most beautiful style of characters in ancient China by calligraphers. It is still used for inscribing names on a seal today. There are two kinds of seal script: large or great seal script and lesser or small seal script.The large seal script (Chinese: 大篆, Pinyin: dàzhuàn) is a traditional reference to all types of Chinese writing systems used before the Qin Dynasty. However, due to the lack of research achievements and precision, scholars often avoid the large seal script, instead of using more specified terms to the examples of writing. The large seal script was widely used in many vassal states in the Spring and Autumn Period (770–476 BC).After the Qin State conquered the other six states and established the Qin Dynasty (221–206 BC), Emperor Qinshihuang unified characters in order to strengthen his control. Based on the Large Seal script and rearranging the variant forms of characters in each state, the unified characters were decreed, called lesser or small seal script (Chinese: 小篆, Pinyin: xiăozhuàn) which was the official style of characters in Qin Dynasty used for all the documents of the government. It was the result of the first extensive simplification and standardization of Chinese characters. Compared with the oracle bone script and bronze script, in the lesser seal script, the forms of characters were simpler, the writing method was consistent, and the character pattern was more orderly. The Ancient Writing Period, from the earliest known oracle bone script to the development of the seal script, lasted about 1,160 years. And the lesser seal script marked the end of the ancient Chinese characters.（Wang Enquan 2006)
Modern characters
Clerical script
After the unification of China, the seal script was still popular, but could not satisfy the needs of people because of its lengthened and curved lines being written were quite time-consuming, so another faster and convenient style of writing called “clerical script” (Chinese: 隶书, Pinyin: lìshū) appeared during the late Qin Dynasty and the Han Dynasty (206 BC — 220 AD). In order to save time, they changed the rounded lines into straight ones which became the officially approved formal way of writing. There is also a historical legend which attributed the creation of a clerical script to Cheng Miao, who was said to have invented it on the orders of Qinshihuang. From the clerical change to the present, it has been more than 2,200 years. This period in the historical development of Chinese characters is still called "modern" because the structures of Chinese characters have remained the same until today. Although there has not been any change about the structures of Chinese characters since the clerical change, the strokes of Chinese characters have undergone two main stages: regularization and normalization. (Wang Enquan 2006)
Regular script
Toward the end of the Han Dynasty, the strokes with the wavy endings and some thick curvy lines seen in the clerical script became smooth and straight. This change is known as “regularization” after which the characters called the regular script (Chinese: 楷书, Pinyin: kăishū). This appeared at the end of the Eastern Han Dynasty (25–220) and replaced the clerical script to be the major font of daily writing. The regular script could serve as an example of learning by the people for generations even up to the present days because it is much simpler and easier to be written than the clerical script. So many calligraphers like Zhong Yao in the Three Kingdoms Period (220–280 AD), Wang Xizhi in the Eastern Jin Dynasty (317–420 AD), Ouyang Xun, Yan Zhenqing, and Liu Gongquan in the Tang Dynasty (618–907), Su Shi in the Song Dynasty (960–1279) contributed to the regular script as the standard for students to admire, imitate and learn. It has been the standard and formal writing style for more than 1,800 years with the widest and longest usage.
Formation of Chinese characters
Pictograms
Contrary to popular belief, pictograms make up only a small portion of Chinese characters. While characters in this class derive from pictures, they have been standardized, simplified, and stylized to make them easier to write, and their derivation is therefore not always obvious. Examples include 日 (rì) for "sun," 月 (yuè) for "moon," and 木 (mù) for "tree."（Nie Yan 2005)
Pictophonetic compounds
Also called semantic-phonetic compounds, or phono-semantic compounds, this category represents the largest group of characters in modern Chinese. Characters of this sort are composed of two parts: a pictograph, which suggests the general meaning of the character, and a phonetic part, which is derived from a character pronounced in the same way as the word the new character represents.Examples are 河 (hé) river, 湖 (hú) lake, 流 (liú) stream, 冲 (chōng) riptide, 滑 (huá) slippery. All these characters have on the left a radical of three dots, which is a simplified pictograph for a water drop, indicating that the character has a semantic connection with water; the right-hand side in each case is a phonetic indicator.（ Yu Xinjia and Xue Ruijia，2005）
Ideograph
Also called a simple indicative, simple ideograph, or ideogram, characters of this sort either add indicators to pictographs to make new meanings, or illustrate abstract concepts directly. For instance, while 刀 (dāo) is a pictogram for "knife," placing an indicator in the knife makes 刃 (rèn), an ideogram for "blade." Other common examples are 上 (shàng) for "up" and 下 (xià) for "down." This category is small, as most concepts can be represented by characters in other categories.（ Yu Xinjia and Xue Ruijia，2005）
Logical aggregates
Also translated as associative compounds, characters of this sort combine pictograms to symbolize an abstract concept. For instance, 木 (mu) is a pictogram of a tree, and putting two 木together makes 林 ,meaning forest. Combining 日 (rì) sun and 月(yuè) moon makes 明(míng) bright, which is traditionally interpreted as symbolizing the combination of sun and moon as the natural sources of light.
Associate transformation
Characters in this category originally didn't represent the same meaning but have bifurcated through orthographic and often semantic drift. For instance, 考 (kǎo) to verify and 老 (lǎo) old were once the same character, meaning "elderly person," but detached into two separate words. Characters of this category are rare, so in modern systems this group is often omitted or combined with others.（ Yu Xinjia and Xue Ruijia，2005）
Also called phonetic loan characters, this category covers cases where an existing character is used to represent an unrelated word with similar pronunciation; sometimes the old meaning is then lost completely, as with characters such as 自 (zì), which has lost its original meaning of nose completely and exclusively means oneself, or 萬 (wan), which originally meant scorpion but is now used only in the sense of ten thousand.(Liu Youxin 1998)
Modern reforms
There were several attempts to simplify Chinese characters, including reforms after the Founding of the People's Republic of China. The idea to abandon Chinese characters and to use Pinyin instead, was not realized. However, children learn their first characters with the help of Hanyu Pinyin, a transcription script made from the Latin alphabet.
Chinese Characters and the Information Age
Nowadays, with the continuous development of digitization, Chinese characters have been effectively imported into various electronic media. In a sense, Chinese characters in the electronic age are also facing reform, and there will be more advanced means to promote the role of Chinese characters in the electronic information age, so that they can better serve the public. Chinese characters are undoubtedly China's most beautiful and valuable asset, representing not only a national spirit, but also the roots of the Chinese nation, the soul of China. As Mr. Yu Guangzhong once said, as long as the soul of Cangjie remains intact, the image, the magnet-like centripetal force, is bound to exist, and the memories and hopes of our ancestors will have a new anchor.（Yi Lixin 2004）
Terms and expressions
1.Oracle Bone Inscriptions 甲骨文
2.Bronze Inscriptions 金文
3.Small seal characters 小篆
4.Official script 隶书
5.Regular script 楷书
6.Cursive writing 草书
7.Cang Jie 仓颉
8.Clerical script 楷书
9.Su Shi 苏轼
10. Wang Xizhi 王羲之
11.Ou Yangxun 欧阳询
12.Yan Zhenqing 颜真卿
13.Pictograms 象形
14. Pictophonetic compounds 指事
15.Ideograph 会意
16.Logical aggregates 形声
17.Associate transformation 转注
18.Borrowing 假借
Questions
1. How many Chinese characters are there?
2. How many letters are in the Chinese pinyin?
3. How many formations of Chinese characters? What are they?
Answers
1. According to the latest statics, there are nearly 91251 Chinese characters recorded .
2. There are 26 letters in Chinese alphabet.
3. Six formations are included in Chinese characters system, and they are Pictograms Pictophonetic compounds,Ideograph, Logical aggregates, Associate transformation,Borrowing
References
1.Wang Xianchun王显春. 汉字的起源[M]. 学林出版社, 2002.
2.Liu Youxin刘又辛. "关于汉字发展史的几个问题(上)." 语文建设 12(1998):34-37.
3.Boltz, William G. 2003. The origin and the development of the Chinese writing system. (American Oriental series), v. 78. New Haven, CT: American Oriental Society. ISBN 0940490188
4.Chinese Characters, Chinese Culture and Chinese Mind . Yu Xinjia and Xue Ruijia, https://web.uri.edu/iaics/files/12-Yuxin-Jia-Xuerui-Jia.pdf,2005.
5.Yi Lixin伊立新. 论汉字与中国文化的相互影响[J]. 沈阳建筑大学学报(社会科学版), 2004, 6(001):58-60.
6.Wang Enquan王恩全. 中国汉字的形成及演变规律之考辨[J]. 沈阳农业大学学报(社会科学版), 2006(03):551-553. 7.Nie Yan聂焱. "论汉字造字法的思维模式." 湘南学院学报 03(2005):63-67+81. --Gudongfang (talk) 12:28, 21 December 2020 (UTC)Gu dongfang
Handcraft - Chinese Knots - Guan Qinqing 管钦清 - MTI 英语笔译
A.Chinese Knots
1.A Brief Introduction about Chinese Knots
The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.It originally evolved from the sewing of the Paleolithic period, to the ritual memorial of the Han Dynasty, and then into today's decorative craft.The jade worn by people in the Zhou Dynasty was often decorated with Chinese knots, and there were also Chinese knot patterns on the bronzes of the Warring States Period.（Li Ku 2016，125）
The Chinese knot continued to become a popular art in the Qing Dynasty. Now, Chinese knots are often used as interior decorations, gifts between relatives and friends and personal accessories. It is possessed of delicate and symmetrical appearance and accords with the conventions of Chinese traditional decorations and aesthetics, which earned the knot as its name.（Li Lifang & Sun Jianjun 2002,38）
2.The Classification of Chinese Knots
There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot(双钱结）,Good Luck Knot（吉祥 结）,Chinese Button Knot（纽扣结）,Sauvastika Knot（万字结）,Oxalis Knot（酢浆草结）,Pan Chang Knot（盘长结）,Round Brocade Knot（团锦结）,Caisson Celling Knot（藻井结）,Cross Knot(十字结） and Ping Knot（平结）.（Li Ku 2016，125）
Here, we mainly introduce three main Chinese knots,which are the Double Coin Knot,the Good Luck Knot and the Pan Chang Knot.
2.1.The Double Coin Knot
Ancient coins are closely related to a country’s history, culture,politics, and economy, and are regarded as treasures both at home and abroad. The Chinese people's views on coins are not limited on their prices but value, which can be seen in the auspicious characters and patterns cast on many ancient coins. Money in China not only represents the value of a certain currency, but also something of good luck. Every Chinese New Year's Eve, children can receive the so-called "luck money".（ Li Lifang & Sun Jianjun 2002，40）
Therefore, for the Chinese people, money also has the meaning of eliminating and avoiding evil. Double Coin Knot is named after two bronze coins connecting together, which symbolizes "good things come in pairs". This knot is often used in weaving necklaces, belts and other accessories, and the combination of several Double Coin Knots can form beautiful patterns, such as clouds and Perfect Knots，etc. （Li Ku 2016，126）
2.2.The Good Luck Knot
As for the Good Luck Knot,it is an extension of the cross knot, and is also one of the ancient decorative knots, which means auspiciousness. The knitting method is simple. And the knot shape is beautiful,varied and widely used. When used alone, if a heavy object is hung, the knot is easy to deform, and it can be fixed with a shaping glue.（Wu Hongfang 2004,120）
2.3.The Pan Chang Knot
Pan Chang Knot is also a kind of Chinese knot. It symbolizes the highest realm of unity of mind and matter and eternal immortality. It represents the auspiciousness of the avenue and is therefore highly valued by Chinese people. Pan Chang (盘长） is a symbol of the origin of all things, and is one of the most important basic knots. It is often the main knot of many changing knots. Because the Chinese knot has the characteristics of close symmetry, it is easy to be liked by us in terms of its perception.（Li Lifang & Sun Jianjun 2002，44）
3.The Knitting Method of Chinese Knots
The knitting of Chinese knots can be roughly divided into three categories: basic knots, variable knots, and combined knots. Their knitting technology requires a variety of basic knot knitting skills, and all have common knitting principles, which can be summarized into basic technique and combination technique. The basic technique is to knit with single lines, double lines or multiple lines, using the parallel or separation of the thread ends to make colorful knots. The combination technique means to use thread extension to flexibly combine various knots, so as to make a group of varied knots.（Xu Xing 2004,46）
The final stage of learning knitting is the self-designing. When designing a set of beautiful knots, the most important thing is to determine its purpose and function, and then determine its size and shape, while considering the color matching and the appropriate use of accessories. As long as the decorations are used flexibly, andthe designer's artistic beauty and deep thoughts are poured into, the Chinese knot can fully express the beauty of traditional Chinese art.（Xu Xing 2004,47）
4.The Cultural Connotations of Chinese Knots
Chinese people love the Chinese knot because it embodies the cultural essence and national characteristics of the Chinese nation. The Chinese knot is a woven fabric of rope and thread.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". In addition, Chinese people are descendants of Dragons.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,44）
Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness. Many of the Chinese words composed of "结"（knot) that we usually see have beautiful meanings, such as 团结（unity）, 结交 （making friends), and 永结同心（tie the knot),etc. "结"(knot) is also homonymous with "吉"（ausipiciousness), so people even think that "knot" is a symbol of good luck.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,44）
5.Comparisons between Chinese Knots and Cross Necklaces
5.1.Different Cultural Connotations
From the above, we can see that the Chinese knot generally have many meanings, such as good luck, love, unity and so on. The cross necklace,however, is symbolic of Christianity. The cross, derived from the Latin "crux", means "fork".It was originally a cruel instrument of torture used to execute prisoners. It was popular in ancient Rome, the Persian Empire and Carthage. Later,cross evolved into a symbol of the Christianity due to Christ's death on the cross to redeem sinners.Therefore,such cross ornaments in the west as cross necknaces are usually used to represent love and salvation.（Wang Mizhu &Sun Sun& Qu Hongjian 2014,45）
5.2.Different Shapes
Similarly, from the above we can also learn that Chinese knots have many shapes, and different shapes represent different meanings. The cross necklace can also have different shapes and sizes. Christians can hang a small cross on their chest to express their identity, while the large cross is a symbol of the bishop's authority.（Xu Xing 2004,47）
6.References
- Li Ku 李库. (2016). 符号学视角下的中国结解读 [The Analysis of Chinese Knots from the Perspective of Semiology ]. 艺海 Yi Hai (08) 125-126.
- Li Lifang & Sun Jianjun 李立芳，孙建君. (2002). 民间绳结 [Folk Knots]. Wuhan: Hubei Fine Arts Publishing House 湖北美术出版社.
- Xu Xing 许星. (2004). 路论中国结 [On the Chinese Knots]. 丝绸 The Silk (02) 46-47.
- Wu Hongfang 邬红芳. (2004). 中国结的意象美学特征 [The Rhetorical-Beauty of Chinese Knots]. 装饰 Decoration (09) 120-121.
- Wang Mizhu &Sun Sun& Qu Hongjian王眯珠,孙荪,曲洪建. (2014). 怀旧心理与创新意识对中国结的影响分析[The Analysis of the Impact on Chinese Knots from Reminiscence and Consciousness of Innovation ]. 丝绸 The Silk (11) 43-50.
B. Terms and Expressions
Double Coin Knot 双钱结
Good Luck Knot 吉祥结
Chinese Button Knot 纽扣结
Sauvastika Knot 万字结
Oxalis Knot 酢浆草结
Pan Chang Knot 盘长结
Round Brocade Knot 团锦结
Caisson Celling Knot 藻井结
Cross Knot 十字结
Ping Knot 平结
tie the knot 永结同心
luck money 压岁钱
the bishop's identity 主教职权
C. Questions
1. What is the Chinese knot?
2. Do you know the names of the main Chinese knots? What are they?
3. What do "绳" and "结" mean in Chinese culture?--Guan Qinqing (talk) 13:04, 30 November 2020 (UTC)
Answers
1.The Chinese knot is a hand-woven handicraft unique to China. The exquisiteness and wisdom displayed on it are just one aspect of the ancient Chinese civilization.
2.There are ten main kinds of Chinese knots which are named according to the shape, purpose or meaning of the knot.They are Double Coin Knot,Good Luck Knot,Chinese Button Kno,Sauvastika Knot,Oxalis Knot,Pan Chang Knot,Round Brocade Knot,Caisson Celling Knot,Cross Knot and Ping Knot.
3.In Chinese， "rope" (绳）and "god" （神）are homophonic, so the Chinese nation has a worship of "rope". Because the shape of "rope" is like a winding dragon, people also regard "rope" as a symbol of dragon. Chinese people also have their own unique understanding of "knot", which means reunion and happiness.--Guan Qinqing (talk) 07:50, 21 December 2020 (UTC)
Literature, Chinese Mythology, Guirou, Barthelemy, 201921080010, Comparative Literature and Cross-Cultural Studies
Introduction
The Chinese’s life is full of mythological traditions such as, the creation of universe, science, literature, philosophy, dragons, tortoises, phoenixes, unicorns, birds, and flowering fruit trees etc. This myth is characterized by the interaction of the pros and cons, yin and yang, good and evil, light and dark, male and female, heaven and earth, strong and weak and so forth. Panku was an important figure in Chinese mythology, the first living being and the creator of universe in some versions of Chinese mythology (Su Shuyang 2010, 2). In world mythology; every peoples have it own myths, different fairy tales, but there is some similarities in common.
A. Panku Created the World
In the beginning, the world didn’t exist; there wasn’t sky, earth, water, animals, birds, plants, human, in other words, the universe was empty. The force of universe was concentrated inside a mysterious egg. This egg, after growing many years, became a big form of ball and finally gave birth to Panku. Panku, who was deeply sleeping in peace in his eggshell for eighteen thousand years, finally awaken by the chaos of the exterior movement and tried to calm down the chaos. Therefore, the sky and the earth were created. His body was well-formed with giant muscles and the size of his body was about ninety thousand li (about thirty thousand miles). (Su Shuyang 2010, 4)
At that moment the sky and the earth was very close and Panku couldn’t fully stand on his limbs, then Panku pushed the sky with his two hands farer away. As time was passing, the sky and earth become more distant from each other and the size of Panku was increasing within. The size of Panku became enormous, 90,000 "li" (45,000 kilometer) was the high distance between the sky and the earth, that is why today we talk about “ Nine - Layer Sky.” For many centuries Panku pushed the sky with all the forces of his body to avoid the chaos, hence, he cried for help but no one helped him because he was alone in the universe. He struggled for ten thousand years until the sky and earth were completely separated into the forces of yin (dark) and yang (light). Slowly, he became weaker and older, and then he felt down on the ground and his body became a mighty crash. Thus, his right eye became the moon and his left eye became the sun; his head and limbs became mountains; his blood vessels became seas and rivers, his flesh became fertile lands; his hair became trees, grass, flowers; his teeth and bones became treasures (gold, metals, silver, copper...); his sweat and tear became rain; his voice became thunder and lightning and his breath became winds and clouds. Finally; he finished his work, Panku, the creator of the world was dead and left behind him a beautiful landscape (Su Shuyang 2010, 4).
B. Nüwa Created Human Beings
Nüwa was created out of earth from Panku flesh. She was a goddess in Chinese mythology or viewed as old grandmother with a body of snake and human face. She was the creator and ancestor of human beings who appeared in the world after Pangu’s death (Su Shuyang 2010, 5).
As she was the only human living being in the world, by the passing time, she felt lonely and decided to create human to her image in order to feel more comfortable in her world. Thus, she sat down thinking about her new project of creating human beings and finally she got an idea. Then she created human beings by kneading mud with human forms and then these “mud figures” became alive. They started walking, speaking, singing, dancing, laughing and were endowed with human beings' capacity. Nüwa was very happy with her news creatures who surrounded her and cried "Our Mum!". Then, she continued to create humans days and nights during a long period until she got tired. Hence, they were spread out everywhere; on the mountains, on the hills, near the rivers, on the straight spaces etc. During a long period of years, Nüwa and her creatures were living together without any particular distinction of man and woman and without any marriage. As time was passing; people were getting old and dying one after the other, so, Nüwa started to worry about her offspring, what the world will be after all the men would have died. Nüwa then divided men and women and taught them marriage and how to reproduce themselves between couples in order the lineage of mankind which never ends. She gave her best wishes and advices to human beings, and since then, people continue to marry and give birth. (Su Shuyang 2010, 5, 6).
C. Fuxi Taught the People
In Chinese mythology, it is generally said that the rulers were half-gods and half humans and they could change their shapes of state, either in animal or in human being. According to Chinese myths; the rulers didn’t die, when their time on the earth expired, they ascended to the heavens to have a rest. Fuxi was the first who taught to people how to survive on the earth. Her teachings included: hunting, using fire, writing etc. In some stories Fuxi was the husband of Nüwa, whereas in some other stories he wasn’t. Anyway they are important figures of Chinese civilization. (Irene Dea Collier, 2001, 33)
Fuxi noticed that the new world (people) couldn’t cope with the difficulties of life and decided to help them thanks to his supernatural powers. He taught them how to make a fish net by twisting plants fibers and form ropes. With these ropes, he wove a fish net to fish fishes in water and feed people, and with these ropes also people could cross mountain peaks to search food. Then, before people were eating raw meat or fish Fuxi showed them how to use fire by twirling two willow sticks together. Moreover, Fuxi taught them many things including agriculture, breeding, security, music, healing and many more. As time was passing; Fuxi got old, and he knew that he could not live forever. Then he decided to create a system of writing, the "trigrams", in order that people can learn and remember about his teachings for a better life. He designed some kind of marks onto turtle shells, bamboo sticks and animal bones which became later words and numbers. This "trigrams" were also a mean to interpret future and consult an oracle about the right ways to follow. (Irene Dea Collier 2001, 35, 36)
Finally, Fuxi gave his last gift (music), so that people could live in harmony and peace after him. So, Fuxi taught them how to make musical instruments and how to use it, a "pipa" (lute). That is why music has a great importance in Chinese history. Each time we play music, it reminds us of Fuxi's great teachings. Fuxi’s time ended on the earth and finally he ascended to heavens hoping that his disciples (humans) live in peace. (Irene Dea Collier 2001, 39)
D. Water War
Territorial conquest or extension of a territory was a preoccupation of each ruler since the beginning of the world and still now it is one of the sources of conflicts in the world. So, Gong, god of water fought against Zurong, god of fire to extend his territory. Historically, both have terrible tempers and are described as very big giants with different shapes, Gong is shown with a snake’s body and a human face with red hair. Meanwhile Zurong is shown with a massive human body with broad shoulders, red skin, and a red beard (Irene Dea Collier 2001, 44).
Gong poked the earth with bouts of rain and floods which caused damages included on people, houses, animals, trees and many others living beings. People and other gods asked him to stop destroying but Gong remained pitiless and severe to their inquiries. Zurong, god of fire who ruled the earth in peace before Gong, finally intervened to stop him. So Zurong challenged Gong to regain the control of the earth. Firstly, they started to wrestle on the sky for many days, as both of them were using their supernatural powers, the sky shook with thunder, and lightning flashed across the sky. Then, they got down in the earth to continue fighting but unfortunately Gong and his army were defeated and all the people and gods rejoiced Gong’s defeat. Since then, the world is full of conflicts and insecurities. (Irene Dea Collier 2001, 48, 49)
In summary, like many mythologies, Chinese mythology has been recorded in oral form in literature from various regional and cultural traditions. China is the home of many mythological traditions which involves the creation of world, gods, deities, supernatural powers, culture, people, houses, cooking, writing, ancestors etc.
E. Terms and Expressions
Chinese Mythology 中国神话
Pangu 盤古
Yin/Yang 陰陽 / 阴阳
Nüwa 女媧
Fuxi 伏羲
Water War 水战
F. Questions
1. Why an egg a good symbol for the beginning of the world?
2. Why Nüwa decided to create human beings?
3. What did Fuxi taught to the people?
4. What was the cause of Gong and Zurong’s war and who won?
G. Answers
1. Because egg is the symbol of life and many creatures are born from the eggs, even its physical form is round like the world and it contains necessary elements to create a life.
2. Firstly, for companionship and secondly to guarantee her offspring by teaching them the importance of marriage and how to feed and raise their children. She also wanted to humans to live independently without help of god.
3. He taught to people how to live conveniently such as: fishing, how to make fire, cooking food and meat with fire, oracle consulting, and how to make and use lute.
4. Gong wanted to extend his territory which resulted to water damage and Zurong intervened and defeated him by wrestling.
References
- Su Shuyang. (2010).CHINA: Insight Traditions and Culture.(Youth Edition). DOLPHIN BOOKS China International Publishing Group. (2010)-2-4-5-6.
- Irene Dea Collier. (2001). "Chinese Mythology". Library of Congress Cataloging-in-Publication Data. (2001)-33-35, 36-39-44-48-49.
- https://www.confuciusinstitute.ac.uk/wp-content/uploads/2018/12/Pangu-lifting-heaven-picture.jpg--GUIROU BARTHELEMY (talk) 14:52, 21 December 2020 (UTC)
Gods and Immortals - Gui Yizhi 桂一枝 202070080587 英语笔译
Chinese gods and immortals
Chinese mythology system
Chinese mythology is a mythology that has been passed down in oral form or recorded in literature, including many varied myths from regional and cultural traditions. Many myths involve the creation and cosmology of the universe and its deities and inhabitants. Some mythology involves creation myths, the origin of things, people and culture. Some involve the origin of the Chinese state. Some myths present a chronology of prehistoric times, many of these involve a culture hero who taught people how to build houses, or cook, or write, or was the ancestor of an ethnic group or dynastic family. Mythology is intimately related to ritual. Many myths are orally associated with ritual acts, such as dances, ceremonies, and sacrifices. (Lü & Gong 2014, 71)
Chinese mythology is far from monolithic, not being an integrated system. Along with Chinese folklore, Chinese mythology forms an important part of Chinese folk religion. There has been an extensive interaction between Chinese mythology and Confucianism, Taoism, and Buddhism. Chinese mythology is a myth in a broad sense, which combines the Ancient mythology system, the Taoist mythology system, and the Buddhist mythology system. Among them, ancient mythology is not very systematic, and most of its records are fragmented and scattered; Taoist mythology has its own system; Buddhist mythology originates from India.(Yang, An & Turner 2005, 4)
The Ancient mythologies are myths about the origin of man or the creation myths. It begins in ancient times (pre-Xia dynasty). There is not a book specialized in recording all of those myths in history, not even being an integrated system like in Western mythology. The Ancient myths are written in the Classic of Mountains and Seas, Book of Songs, the Songs of Chu, Zhuangzi, Huai Nan Zi and other books, and can be divided into four categories: the creation myths (Pangu Separating the World, Goddess Nüwa creating Human Beings), myths of heroes (Hou Yi Shooting Down the Suns), myths about Tribal war (the Battle of Zhuolu), and myths about human and nature (Kuafu Chasing the Sun, Great Yu Who Controlled the Waters). (Bai 1987:34-40)
Taoism can be defined as pantheistic, given its philosophical emphasis on the formlessness of the Tao and the primacy of the "Way" rather than anthropomorphic concepts of God. Through time Taoist Theology created its own deities. Similar to deities of Hinduistic beliefs these deities attributed certain qualities. Deities who take part in the Dao are arranged in a hierarchy. The supreme powers are three, the Three Pure Ones, and represent the centre of the cosmos and its two modalities of manifestation (yin and yang). The main classics of Taoism include 'Zhuangzi' and many other scriptures. Many gods and immortals are created in their texts. Most of them are given official posts, showing Chinese ancestor's emphasis on practical application. For example, Tudishen (土地公) the God of the Soil and the Ground, is a tutelary deity of a locality; Sanxing (三星) Three Stars, is a cluster of three astral gods of well-being, including Fuxing, Prosperity Star, the God of happiness, Luxing, Firmness Star, the God of firmness and success in life and examinations, and Shòuxing, Longevity Star, who stands for a healthy and long life. (Olson & Stuart 2002:27-28)
At the end of Western Han Dynasty, Indian Buddhism was introduced into China and merged with the local culture, creating many new myths. Buddhism thinks that everything is equal, and there is no hierarchy, but in fact, there are many differences according to the level of their Buddhist understanding and practice. The one with the highest practice is the Buddha. The founder of Buddhism, Shakyamuni, is the most familiar Buddha to Chinese people. Amitabha, also known as Amida or Amitāyus, is a celestial buddha and the principal buddha in Pure Land Buddhism. Bodhisattvas have a lower level of Buddhism practice than Buddha. Guanyin is the Chinese translation of the bodhisattva Avalokiteśvara. She is often referred to as the "most widely beloved Buddhist Divinity" with miraculous powers to assist all those who pray to her.(Buddhism, p37)
神 shén, 帝 dì and 仙 xiān
Chinese traditional religion is polytheistic; many deities are worshipped in a pantheistic view where divinity is inherent in the world. In Chinese language there is a terminological distinction between 神 shén, 帝 dì and 仙 xiān. Although the usage of the former two is sometimes blurred, it corresponds to the distinction in Western cultures between "god" and "deity". dì, sometimes translated as "thearch", implies a manifested or incarnate "godly" power. During the time of Zhou dynasty to the Warring States, dì is used to refer to those who have great moral cultivation and merits. And then it becomes a term of emperor since Qin dynasty. The latter term 仙 xiān refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero" or "saint". (Hu 2020)
There is another difference between Chinese gods and immortals. The gods usually have their own position and take charge of different things in Daoist theology. While immortals, unlike gods, have no official positions. It is that certain humans develop the ability to live indefinitely, avoiding death, and becoming divine xiān. Such humans generally also are said to develop special powers and always live leisurely. So since ancient times, many people are longing to become an immortal and live a carefree life (Fowler & Jeanine 2005:200-201)
Eight immortals
The Eight Immortals are a group of legendary xian ("immortals") in Chinese mythology. Each immortal's power can be transferred to a vessel that can bestow life or destroy evil. Together, these eight vessels are called the "Covert Eight Immortals". Most of them are said to have been born in the Tang or Shang Dynasty. They are revered by the Taoists and are also a popular element in secular Chinese culture. They are said to live on a group of five islands in the Bohai Sea, which includes Mount Penglai. (Yang, Deng & Wang 1987:40-45)
The Immortals are Lü Dongbin (呂洞賓), He Xiangu (何仙姑), Zhang Guolao (張果老), Lan Caihe (藍采和), Li Tieguai (李鐵拐), Zhongli Quan (鍾離權), Han Xiangzi (韓湘子), Cao Guojiu (曹國舅), representing man, woman, the old, the young, the poor, the humble, the rich and the noble. Among them, Lü Dongbin is considered to be their leader. Unlike many other Taoist gods and immortals, the Eight immortals all come from the human world and have colorful and varied experiences before they become immortals. Their images that are entirely different from the usual scared deities make them very popular with people. They are not born as immortals. Among them are a general, royal court members, Taoists or even beggars etc. All of them have certain shortcomings, like Lü Dongbin is frivolous, and Li Tieguai is a drunkard. (Yang, Deng & Wang 1987:45-50)
The Eight Immortals are considered to be signs of prosperity and longevity, so they are popular themes in ancient and medieval art. They were frequent adornments on celadon vases and also the subject of many artistic creations, such as paintings and sculptures. There is a famous saying that comes from the myth of them -- "The Eight Immortals cross the sea, each reveals its divine powers" (八仙過海，各顯神通) indicating the situation that everybody shows off their skills and expertise to achieve a common goal. (Little, Stephen 2000:313, 319–334)
Terms and Expressions
immortals 仙
mythology 神话，神话学
cosmology 宇宙论，宇宙观
monolithic 整体（式）的
the Battle of Zhuolu 涿鹿之战
pantheistic 泛神论的
polytheistic 多神论的
Three Pure Ones 三清
anthropomorphic 人格化的
tutelary 守护神
deity 神
Buddha 佛
Shakyamuni 释迦牟尼
Amitabha 阿弥陀佛
Amitāyus 无量寿佛
celestial 天的
Bodhisattva 菩萨
Pure Land 极乐世界
vessels 法器
Covert Eight Immortals 暗八仙
Taoist 道家的，道士
Questions
1. What are the topics of the Ancient mythology?
2. What are the differences among shén, dì and xiān?
3. What do the Eight immortals represent respectively?
Answers
1.The Ancient mythologies are myths about the origin of man or the creation myths，which can be divided into four categories--the creation myths, myths of heroes, myths about Tribal war, and myths about human and nature.
2. shén and dì corresponds to the distinction in Western cultures between "god" and "deity". The latter term 仙 xiān , refers to a person or similar entity having a long life or being immortal, similarly to the Western idea of "hero".
3.Lü Dongbin, He Xiangu, Zhang Guolao, Lan Caihe, Li Tieguai, Zhongli Quan, Han Xiangzi and Cao Guojiu are representing man, woman, the old, the young, the poor, the humble, the rich and the noble respectively.
References
Lü, Daji; Gong, Xuezeng. (2014). Marxism and Religion. Religious Studies in Contemporary China. Brill.
Yang, Lihui; An, Deming; Turner, Jessica Anderson (2005). Handbook of Chinese Mythology. New York, NY: Oxford University Press.
Bai Yang. (1987). Chinese Huamn History. Time Literature & Art Press.
Olson, Stuart Alve. (2002). Qigong Teachings of a Taoist Immortal: The Eight Essential Exercises of Master Li Ching-Yun. Bear & Company.
Buddhism, the Fulfilment of Hinduism
Hu Yanan.(2020). From Gods to Immortals: A Research on the forming factors of God belief during Pre-Qin Dynasty [D].Harbin Normal University.
Fowler, Jeanine D. (2005). An Introduction to the Philosophy and Religion of Taoism: Pathways to Immortality. Sussex Academic Press.
Yang Erzeng, Deng Zhimo, Wang Xiangxu. (1987). A Full Story Book of Eight Immortals. Spring Breeze Literature & Are Press.
Little, Stephen (2000). Taoism and the Arts of China. The Art Institute of Chicago.--Gui Yizhi (talk) 06:14, 21 December 2020 (UTC)
Literature, Tang and Song - Guo Lu 郭露 202070080588 英语笔译
Classical Prose Movement of late Tang Dynasty and Song Dynasty
Introduction
“The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty in China, also known as the Classical Prose Movement, is a movement with the style reform as its surface and Confucianism Renaissance as its depth.” (Li Shufang 2003:1-3) The word “Gu Wen” was first introduced by Han Yu, it indicates the prose in the pre-Qin period and Han Dynasty. This movement took clarity and precision as priorities, and it stood against the florid pianwen or parallel prose style that had been popular starting from the Han Dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they can revive Confucianism and promote their political thoughts. This movement had a tendency to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct. (Qian Dongfu 1979:1)
Development
The Classical Prose Movement went through three stages. The first promoters of the Classical Prose Movement were Han Yu and Liu Zongyuan, who were not only writers but also theorists, forming the basis of the movement. Both of them were enthusiastic to promote the movement and were keen to teach young people so that the movement could achieve further development and then revive Confucianism. (Qian Dongfu 1979:15-18)
However, after the death of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters were hindered in their understanding or were neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style. (Qian Dongfu 1979:59-61)
After that, Ouyang Xiu once again advocated classical prose in Song Dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of late Tang Dynasty and Song Dynasty. (Song Juan 2005:62-65)
Representatives
1. Han Yu Han Yu (768–824), courtesy name Tuizhi, is also known for his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming Dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and the famous poet Su Shi, once praised that “His prose reversed the literary decline of eight dynasties”. (Qian Dongfu 1979:15-17)
Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 prose pieces. He is especially famous for his On Teachers, which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive prose is short but well structured, and it has a strong appeal to people. It also has a positive impact on youth education. (Fan Aiju, Li Wei 2014:124-125)
2. Liu Zongyuan
Liu Zongyuan (773–819), courtesy name Zihou, is also known by his art names He Dong Xian Sheng or Liu He Dong. He was a Chinese litterateur, philosopher, politician and poet who lived during Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been regarded as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the Eight Records of Excursions in Yongzhou. And one of his most famous poems is "Jiangxue". (Yang Shengli 2020:42-44)
3. Ouyang Xiu
Ouyang Xiu (1007–1072), courtesy name Yong Shu, is also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song Dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries. (Nie Yongqing 2007:56)
Ouyang Xiu was in charge of the writing of the New Book of Tang, and he also wrote the Historical Records of the Five Dynasties independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like Zuiweng Tingji that won him the greatest acclaim. The poem's most well-known line is: "The Old Toper cares not for the wine, his interest lies in the landscape." This idiom is still used in modern Chinese to describe someone with an ulterior motive. (Nie Yongqing 2007:56-57)
Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Prose Movement. Considering their influences, they were also listed as Eight masters of Tang and Song Dynasties. (Qian Dongfu 1979:82-83)
Masterworks
Under the influence of the Classical Prose Movement of the late Tang Dynasty and the Song Dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except for the works of Han Yu, Liu Zongyuan and Ouyang Xiu, other works like Shang Zhongyong written by Wang Anshi, On Jia Yi and First Ode to the Red Cliff by Su Shi, were also considered the representative works of this movement. (Qian Dongfu 1979:73-78)
Influence
The Classical Prose Movement of late Tang Dynasty and of Song Dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in Ming Dynasty and Tong Cheng school in the Qing Dynasty. Besides that, it also helped to lay a solid foundation of prose in China and acted as a fine example for later scholars. (Qian Dongfu 1979:85-86)
Terms and Expressions
The Classical Prose Movement of late Tang Dynasty and of Song Dynasty 唐宋八大家
Classical Prose Movement 古文运动
Eight Records of Excursions in Yongzhou 《永州八记》
On Teachers 《师说》
New Book of Tang 《新唐书》
Historical Records of the Five Dynasties 《新五代史》
Zuiweng Tingji 《醉翁亭记》
Shang Zhongyong 《伤仲永》
On Jia Yi 《贾谊论》
First Ode to the Red Cliff 《赤壁赋》
Questions
1. Who were the first promoters of the Classical Prose Movement?
2. What does the Classical Prose Movement mean?
3. What are the political and religious purposes of the Classical Prose Movement?
Answers
1. The first promoters of this movement were Han Yu and Liu Zongyuan.
2. The Classical Prose Movement refers to the cultural reform movement which promotes Gu Wen and opposes pianwen in late Tang Dynasty and in Song Dynasty.
3. The reason why Confucious scholars promoted this movement is that they wanted to combat the influence of Taoism and Buddhism on the emperors. Besides that, this movement is also an effective tool to expose the reality of corruption and weakness in the central government.
References
- Fan Aiju, Li Wei 范爱菊, 李伟. (2014). 唐代文豪韩愈的文学造诣 [The literary achievements of Han Yu in the Tang Dynasty] 兰台世界 Lantai World (21) 124-125.
- Li Shufang. (2003). 古文运动的社会背景 [The Social Background of Sport of Ancient Chinese Prose]. Changsha: Hunan Normal University 湖南师范大学 (12) 1-3.
- Nie Yongqing 聂永清. (2007). 重读欧阳修 [Rethinking of Ouyang Xiu] 当代江西 Dang Dai Jiangxi (02) 56-57.
- Qian Dongfu 钱东父. (1979). 唐宋古文运动 [The Classical Prose Movement of the late Tang Dynasty and the Song Dynasty] Shanghai: Shanghai Classics Publishing House 上海古籍出版社.
- Song Juan 宋娟. (2005). 古文运动、科举与“唐宋八大家” [Movement of the Ancient Chinese Prose, Imperial Examination and “Eight Great Writers in Tang and Song Dynasty”]. Mudanjiang: Mudanjiang Normal University 牡丹江师范学院 (02) 62-65.
- Yang Shengli 杨胜利. (2020). “河东先生”柳宗元 [Liu Zongyuan:He Dong Xian Sheng]. 支部建设 Zhi Bu Jian She (08) 42-44.
- Zhou Zhenfu 周振甫. (1996). 唐宋八大家论 [Talking of Eight Great Prose Masters of the Tang and Song]. Shanghai: Zhong Hua Book Company 中华书局 (06) 35-38.
--Guo Lu (talk) 06:52, 21 December 2020 (UTC)
The tradition of Red Envelope and Lucky Money - HA, THI THU HANG - 201921080008 - Comparative Literature and Cross-Cultural Studies
The Chinese Red Envelope and Lucky Money Tradition
In Chinese and other East and Southeast Asian societies, Red Envelopes, also called Red Packets, Lucky Money, or Hóngbāo ( 红包 ) in Chinese, Li shi / Lìxì in Vietnamese are popular monetary gifts given during holidays, special occasions or festivals such as weddings, graduations, senior people's birthday parties or the birthday of a child, the visit to a newborn baby etc. in China, Vietnam, Korea, Japan, and some other Asian countries, especially widely seen during the Lunar New Year Festival. During the Lunar New Year, the adult, parents and grandparents give kids red envelops with money in it as a present. It is a traditional way to wish good luck and share blessings.
The Lucky Money tradition began in Han Dynasty. Rather than real money, they were small collectibles in the form of coins to ward off evil spirits. Auspicious phrases and symbols were engraved onto the surface. "worldwide peace" ( 天下太平 / Tiān xià tài píng), “longevity and fortune” ( 千秋万岁 / Qiān qiū wàn suì), dragons and phoenixes were common.
These coins were tied together with a red string. The practice transitioned to be wrapped in Red Paper and now, put into Red Envelopes.--HATHITHUHANG2 (talk) 16:33, 19 December 2020 (UTC)
The Legend
In China, during the Qin Dynasty, the elderly would thread coins with a red string. There was a kind of little demon called Sui ( 祟 ) in ancient times. Whenever it was New Year's Eve, it will appear quietly, touching the head of a sleeping child. The child who was touched will be scared and cry, and also will have a headache. Therefore, in order to prevent against the sui, people in the past did not dare to sleep on New Year's Eve, and all the lights were called Shou Sui (守祟 ).
One tale of the folklore goes like this: Once upon a time, there was a couple which was over 50 years old, had just given birth to a little boy. In that Lunar New Year, 8 fairies visited their house and knew that there would be a monster coming to hurt him. To protect the baby, the 8 faires transformed into 8 coins which were then wrapped in red cloth and laid next to the boy when he was sleeping. Thanks to these coins, which were the fairies, the boy was not harmed by the monster. The old couple was so thankful and gradually everyone in the village knew about the story. Since then, when Lunar New Year comes, people will give children "copper money wrapped in red paper" with the belief that the money will protect children from being harmed.
There are also other legends about this custom related to the son of Yang Guifei of Tang Dynasty and related to Qin Dynasty. But in general, the New Year's blessing of lucky money all originates from the idea to give happy money to children, wishing them to grow their money so they can pass the new age with good things and luck.--HATHITHUHANG2 (talk) 16:33, 19 December 2020 (UTC)
The Tradition
The Chinese custom of Lucky Money is called Hóngbāo ( 红包 ). Chinese people really like red, so the Lucky Money is always red, symbolizing luck and happiness. The Red Envelope is called Yāsuìqián ( 压岁钱 ), which means "suppressing ghosts money". Those who receive a Red Envelope are wished to stay safe and peaceful. Sending Red Envelopes is a way to send good wishes for another safe and peaceful year, and luck (as well as money). The amount of money in the Chinese Lucky Money must avoid the number 4 ( 四 / si) and be sealed - that means no 4, 40, or 400 amounts - as the pronunciation of four in Chinese sounds like the word for death ( 死/ si). However, amounts including the number 8 ( 八 / ba) will bring good luck and prosperity ( 发财 / fa).
There are rules on how to properly receive an envelope. Traditionally, children would kneel to receive their Hóngbāo from older family members, and this is still practiced in some areas of China. Red Envelopes are also always given and received with both hands, and should never be opened immediately and in the presence of the present-giver. After receiving the Lucky Money, the children have to put it all under the pillow after about a week to open it. The meaning of this is for the Lucky Money to protect the kids from the bad things that can happen in the New Year. This is also the source of the traditional Chinese Lucky Money.--HATHITHUHANG2 (talk) 16:33, 19 December 2020 (UTC)
Alipay and WeChat Red Envelope
Moving on from the traditional Red Envelope, in the 21st century, many people exchange digital Red Envelopes instead of the traditional paper ones. These are virtual packets of very real cash, transferred directly to friends' and family's smartphones. Users can even send digital Hóngbāo to their favorite celebrities using apps such as Alipay, WeChat and the Weibo Red Envelope. WeChat Red Packet is an online money transfer with a colorful message via WeChat (a Chinese messaging app). In recent years, it has become popular among young people to send "Red Envelopes" via WeChat as a greeting. It has become a new way to greet friends or relatives during the Chinese New Year period.
While the tradition centers on children, Red Envelopes are given to friends, family, colleagues and many other relatives - and different amounts of money are customary for each relation. For example, parents and grandparents get the most, but employees and even casual acquaintances can expect a Red Envelope.
Outside of China
The similar customs have been adopted throughout Southeast Asia and many other countries with sizable populations of Chinese descent. Each country has different ways of Lucky Money and changes over time, but the basic custom of Lucky Money is to want to send wishes of peace to all relatives and friends in the New Year.
In Vietnam, Lucky Money is called Lì xì/Tiền mừng tuổi and very typical. On the first day of the Lunar New Year - one of the great holidays of the year, both adults and babies wear new clothes to celebrate the New Year. After that, the adults will give Lucky Money to the children with the message of good luck, good care and an encouragement for good study. Today, the tradition of Lucky Money in Vietnam is also expanded in the direction that children give Lucky Money to celebrate the age of grandparents and parents. This is a human custom that is increasingly promoted by the Vietnamese people.
In Japan, Lucky Money is called Otoshidama (お年玉). Unlike other countries, the amount of Japanese Lucky Money depends on the child's age, the relationship of the family. Otoshidama Red Envelopes are usually white, not red as common in other countries. The special thing about the Japanese Red Envelopes is that the envelopes are always sealed, symbolizing the privacy, not packaging. Moreover, the name of the person receiving the Lucky Money will be written on the Red Envelope to show respect to the recipient. The message of each Otoshidama Red Envelopes is a wish for a warm, peaceful and lucky New Year.
In Korea, Lucky Money is called Sabae. On the New Year's day, children in traditionally dressed families perform the ritual of bowing to their seniors to show gratitude for birth and nurturing. After this ceremony, the children will receive Lucky Money together with wishes for health and peace in the New Year. The Lucky Money in Korea is more diverse than in other countries, not only money but also gold, pearls, gems etc.
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The Lucky Money tradition has also crossed cultural and religious boundaries, and Green Envelope-giving has even become a practice during the Islamic holiday of Eid al-Fitr across Southeast Asia. It is also widely practiced by the Chinese and Southeast Asian diaspora across the world.--HATHITHUHANG2 (talk) 16:33, 19 December 2020 (UTC)
Terms and Expressions
Lucky Money 利市/ Lì shì
Red Envelope 红包/ Hóngbāo
Worldwide Peace 天下太平/ Tiān xià tài píng
Longevity and Fortune 千秋万岁/ Qiān qiū wàn suì
Suppressing Ghosts Money/ Suppressing Sui Money 压岁钱/ Yā suì qián
Sui 祟
Shou Sui 守祟
Questions
1. Do you know the origin of giving Lunar New Year's Lucky Money to children?
2. Does the Lucky Money tradition exist in other countries than in China?
3. What are the rules on giving and receiving Red Envelopes?
4. On what occasion people give and receive Red Envelopes?
5. Did you ever receive a Red Envelope? On what occasion?
Answers
1. It began in Han Dynasty to protect children from being harmed.
2. Yes. It is very polupar in Vietnam (Lìxì), Japan (Otoshidama), Korea (Sabae), and some other Southeast Asian countries.
3. The giving amount of money must avoid the number 4 that sounds like the word of death in Chinese. The children, after receiving the Red Envelope, do not open it immediatedly and in the presence of the present-giver, but have to put it under the pillow after about a week to open it.
4. Red Envelopes are most commonly associated with New Year, but they also turn up as part of many other occasions as a way of sharing good luck and blessings, like births, weddings, graduation, senior people's birthday parties or the birthday of a child, visit a newborn baby, etc.
5. Yes. Red Envelope, or Lucky Money, or Lìxì is very typical in the Lunar New Year in my country Vietnam.
References
Red Envelope[22]
Fefe Ho - Red Pockets[23]
Cindy Tang - Red Envelopes/Packets (Hongbao) - Amount, Symbols and How to Give [24]
Chinese Red Envelope [25]--HATHITHUHANG2 (talk) 16:33, 19 December 2020 (UTC)
Calendar, The 24 Solar Terms - He Changqi 何长琦 202070080589 MTI
1. The Orgin and Development of The 24 Solar Terms
"The 24 solar terms" is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. （Wang Jiahua 2019）
By the late Western Zhou Dynasty, people had already measured the first four solar terms: Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature in the Warring States period, the complete 24 solar terms were basically formed. During the Qin and Han dynasties, a complete system was perfected and formed into today's complete 24 Solar Terms system.（Wang Jiahua 2019）
2. The Definition and Classification of the 24 Solar Terms
“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016,34-35)
"The 24 solar term" is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (Yuan Jixi 2016,34-35)
A solar term that starts in the early part of a month is called jie (节), and one that starts in the middle part of a month is called qi (气). (Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it.) The solar terms are so named that they represent the changes in season,phenology and climate.(Yuan Jixi 2016,34-35)
The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.(Yuan Jixi 2016,34-35)
3.Folklore of the 24 Solar Terms
The folklore of the 24 solar terms is divided into three aspects: festival folklore, lifestyle customs and food customs. Festive customs such as the "whipping of the spring bull" at the beginning of spring and the "tailing festival" at the end of the cold season.(Ding Yiming, Chang He 2020) Almost every festival has its own special food customs, such as dumplings on the winter solstice and noodles on the summer solstice, as well as biting and tasting spring at the beginning of spring. Following the traditional concept of "the unity of heaven and man, in accordance with the four seasons", the 24 solar terms have led to a wealth of health practices, such as eating liver in spring, drinking water in summer, etc.
These activities can be broadly summarised as follows: worshipping the gods in response to the times of the year, honouring the ancestors and maintaining family ties, eliminating evil and seeking peace, and relaxing and entertaining. Take the Beginning of Spring as an example, it is said that the egg can be set upright on the first day of the Start of Spring, Spring Equinox day and Autumn Equinox day. It is believed that if someone can make the egg stand on the first day of Start of Spring, he will have good luck in the future. In many parts of China, people observe the custom of "biting the spring" on the first day of Start of Spring. They eat spring pancakes, spring rolls, or a few mouthfuls of carrots. Besides, People in China began holding a special ceremony on the first day of Start of Spring about 3,000 years ago. They made sacrifices to Gou Mang, the god of Spring, who is in charge of agriculture. By the Qing Dynasty (1644-1911), greeting spring had become an important folk activity. (He Yannan, Zou Yating 2020)
4.Importance and Values of the 24 Solar Terms
4.1 Importance in Ancient Times
The 24 solar terms are a creation of traditional farming culture, and their production, development and dissemination have adapted to the economic production methods and social needs in the farming era. They have played an important role in the life and work of traditional Chinese people. (Wang Jiahua 2019)
Firstly, the 24 solar terms are the basic time indicators of agricultural production activities in ancient times, which is also the most basic function and value of the 24 solar terms. Agricultural production is an economic activity carried out by humans according to natural rhythms and the laws of crop growth. The basic requirement of the agricultural production is to keep track of the agricultural time, which means that "if the agricultural time is not violated, there will be sufficient grain supply." (Mencius - Liang Huiwang). (Wang Jiahua 2019)
Secondly, the 24 solar terms were also regarded as important time points in the daily life of the people in ancient times. Thirdly, for the ancient ancestors, the 24 solar terms were not just a time system, but a much more colourful connotation of life, and an important manifestation and part of their colourful lives. (Wang Jiahua 2019)
For example, the "Four Beginnings"(四立)-- the Beginning of Spring, Beginning of Summer, Beginning of Autumn, Beginning of Winter-- have always been important festivals in history. At these festivals, the emperors would lead their courtiers to the eastern, southern, western and northern gates of the capital to hold ceremonies to welcome the arrival of spring, summer, autumn and winter. The winter solstice, summer solstice and Qingming Festival are still important traditional festivals today, especially Tomb Sweeping Festival. Spring Festival, Dragon Boat Festival, Mid-Autumn Festival and Tomb Sweeping Festival are known as China's four traditional festivals. (Wang Jiahua 2019)
4.2 Values in Modern Society
In 2016, the 24 solar terms was included in the World Intangible Cultural Heritage List and became one of the most vivid cultural symbols for strengthening the cultural confidence of the Chinese nation and enhancing the cultural cohesion of the Chinese nation. (Ding Yiming, Chang He 2020)
It still has its practical values in modern society. Firstly, as a time-honoured knowledge system with a long history and a customary tradition rich in colourful activities, the 24 solar terms has profound spiritual and cultural connotations, such as respecting nature, adapting to the time of the day, venerating ancestors, filial piety and respect for the elderly, and being good neighbours and friends. Therefore, it is one of the important components of excellent Chinese traditional culture.(Wang Jiahua 2019)
Secondly, the 24 solar terms can accurately reflect the rhythm and rules of nature and the harmonious relationship between man and nature.(Wang Jiahua 2019)
Lastly, the 24 solar terms are not only a time system, but also a living tradition full of rich connotations, which is an important part of people's lives.(Wang Jiahua 2019)
Terms and Expressions
the Beginning of Spring 立春
Beginning of Autumn 立秋
Rain Water 雨水
End of Heat 处暑
Insects Awakening 惊蛰
White Dew 白露
Spring Equinox 春分
Autumnal Equinox 秋分
Fresh Green 清明
Cold Dew 寒露
Grain Rain 谷雨
First Frost 霜降
Beginning of Summer 立夏
Beginning of Winter 立冬
Lesser Fullness 小满
Light Snow 小雪
Grain in Ear 芒种
Heavy Snow 大雪
Summer Solstice 夏至
Winter Solstice 冬至
Lesser Heat 大暑
Lesser Cold 小寒
Greater Heat 立春
Greater Cold 大寒
Questions
1.1.What are the first four solar terms measured by ancient Chinese people?
2.Where does the 24 solar terms originate from?
3. What are the eight solar terms that reflect seasonal changes？
4.When was the 24 solar terms included in the World Intangible Cultural Heritage List?
5.What are the food customs in the Beginning of Spring?
6.Do you konw any other folklore of the 24 solar terms?
Answers
1.Winter Solstice, Summer Solstice, Spring Equinox and Autumn Equinox.
2.It originated in the Yellow River valley.
3.Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox, Beginning of Winter, and Winter Solstice
4.In 2016.
5.People eat spring pancakes, spring rolls, or a few mouthfuls of carrots.
6.It is said that people should eat dumplings on the Start of Winter. There is a story about the birth of dumplings. According to legend, in the late Eastern Han Dynasty, Zhang Zhongjing, the "Sage of Medicine", invented the "jiaozi" to treat frostbite patients with frostbitten ears. He cooked mutton, hot peppers and herbs to dispel the cold and warm up the body. He wrapped these ingredients into a dough skin and made them into an ear shape. Since then, people have learned to make the food which became known as "dumpling" or jiaozi. Today there is still a saying that goes "Eat dumplings on Start of Winter Day, or your ears will be frostbitten."
References
Yuan Jix. 袁济喜. (2016). "中华思想文化术语(3)”[Key Concepts in Chinese Thought and Culture]. 外语教学与研究出版社”[Foreign Language Teaching and Research Press. Belarusian Literature and Arts Press] (Yuan Jix 2016:)
Wang Jiahua. 王加华.（2019.9.20）"China Social Science Network" http://www.cssn.cn/zx/bwyc/201909/t20190920_4974497_1.shtml
Ding Yiming. Chang He. 丁一鸣. 常河（2020.11.17）"Chinanews" http://www.chinanews.com/cul/2020/11-17/9340057.shtml
He Yannan. Zou Yating. 贺亚楠. 邹雅婷. (2020.2.4) “China Daily” https://ent.chinadaily.com.cn/a/202002/04/WS5e3901a9a3107bb6b579d18d.html--He Changqi (talk) 08:49, 23 December 2020 (UTC)
Literature, Yue Fu - Hu Baihui 胡百辉 202070080590 MTI
Collection of Yue Fu Poetry《乐府诗集》
Introduction
1.Brief introduction
Collection of Yue Fu Poetry is the essence of Han, Wei, Jin and Northern and Southern Dynasties folk songs. The content is very rich, reflecting a wide range of social life. It mainly collects more than 5000 Yuefu songs from Han, Wei to Tang and Five Dynasties, as well as from pre Qin to the end of Tang Dynasty. "Yuefu", originally the name of the institution in charge of music, was first set up in the reign of Emperor Wu of the Han Dynasty, and there were also Yuefu institutions in the northern and Southern Dynasties. Its specific task is to make music score, collect lyrics and train music talents. There are two sources of lyrics: one is specially written by literati, the other is collected from Chinese folk. Later, people called the poems collected by Yuefu organs as Yuefu, or Yuefu Poems and Yuefu songs, so Yuefu changed from official name to poetic name. (Wu Ting 2007, 20)
2.About the author
Guo Maoqian (1041-1099) was born in Xucheng, Yunzhou, Song Dynasty. He is the grandson of Guo Quan, and the son of Guo Yuanming. Song Shenzong Yuanfeng seven years (1084), Cao joined the army in Henan Province. He wrote a hundred volumes of Collection of Yue Fu Poetry, which was handed down from generation to generation. (Wu Ting 2007, 22)
3.Content introduction
It divides Yuefu Poems into 12 categories, including suburban Temple songs, Yan shooting songs, drum songs, horizontal blowing songs, Xianghe songs, etc. In these different kinds of music, the songs of Jiaomiao and yanshe belong to the movements used by the imperial court, and their ideological content and artistic skills are less desirable. There are also some works with poor artistic value. But generally speaking, most of the poems it collects are excellent folk songs and poems written by scholars with old Yuefu titles. In the existing poetry collection, "Yuefu Poetry Collection" is an important book with the most complete collection of all kinds of Yuefu Poetry in the past dynasties. (Wu Ting 2007, 30)
Masterpieces
1.The Peacock Flies to Southeast
The Peacock Flies to Southeast is the first long narrative poem in the history of Chinese literature, and it is also the peak work in the history of Yuefu Poetry. It is based on a marriage tragedy in Lujiang County during the reign of Emperor Xian of the Eastern Han Dynasty. The poem has more than 350 sentences and 1700 words. It mainly tells the story of Jiao Zhongqing and Liu Lanzhi's forced separation and suicide. It accuses the cruelty and ruthlessness of feudal ethics and praises their sincere feelings and rebellious spirit. As the longest narrative poem in ancient history, the story of Peacock Flying Southeast is complicated and simple, and its characters are vividly portrayed. It not only portrays the image of Jiaoliu and his wife, but also depicts the stubbornness of Jiao's mother and the arrogance of brother Liu. At the end of the article, the myth of Liu Lanzhi and Jiao Zhongqing turning into mandarin ducks after their death is conceived, and the people's strong desire for love freedom and happy life is placed. (Wu Ting 2007, 36)
2.Mulan Poetry
Mulan poetry is a folk song in the Northern Dynasty of China. This is a long narrative poem about a girl named Mulan. She disguised herself as a man, joined the army for her father, established meritorious service in the battlefield, and refused to be an official after returning to the imperial court. She only wanted to go home for reunion. She warmly praised the woman's brave and kind-hearted quality, her enthusiasm for defending her country and her brave and fearless spirit. "Mulan is a girl" is used to conceive the legend of Mulan, which is full of romantic color. The detailed arrangement is very ingenious. Although it is about war theme, it is mainly about the life scene and children's mood, which is full of life flavor. It describes the character's mood by means of character's question and answer, narration, parallelism, antithesis and intertextuality, which is vivid, detailed and full of vitality. Therefore, it has strong artistic appeal. (Wu Ting 2007, 41)
Evaluation
1.Contributions
The important contribution of it is to collect and classify the songs of past dynasties according to their tunes, so that many works can be compiled into books. This provides great convenience for the collation and research of Yuefu Poetry. For example, some excellent Chinese folk songs of Han Dynasty, such as "Moshangsang", "dongmenxing", were collected and recorded by editors. In particular, some ancient folk songs and proverbs are scattered in various historical books and some academic works, and miscellaneous ballads and sayings are mostly ignored by the former. (Yu Yizhi 2002, 105)
Collection of Yue Fu Poetry introduces and explains in detail the origin, nature and musical instruments used in the singing of various kinds of music. So that many precious historical materials can be preserved. This is of great value to the study of literature history and music history.There are narrative poems and lyric poems in Yuefu Poems, and the achievements of narrative poems are more prominent. The Book of Songs and The Songs of Chu are basically lyric poems, and sometimes narrative is interspersed in the process of lyric, but narrative is attached to lyric. The emergence of Yuefu narrative poetry marks the maturity of Chinese ancient narrative poetry, and it is all caused by sadness and happiness. When choosing narrative objects, the creative subject is good at finding poetic scenes and absorbing pictures in time. (Yu Yizhi 2002, 105)
2.Shortcomings
There are some imperfections in Collection of Yue Fu Poetry. For example, Ji Yun in the Qing Dynasty pointed out that it was not appropriate to include some literati poems in the titles of Yuefu. In addition, because of its emphasis on melody, the recorded songs are often inconsistent with the description of tunes. But on the whole, as an ancient Chinese literature, this giant has made a certain contribution. (Yu Yizhi 2002, 107)
References
Wu Ting 吴婷. (2007). 乐府诗集引用的音乐文献研究 [A study of music documents cited in Collection of Yuefu Poertry]. Nanchang:Nanchang University 南昌大学 (12) 20-41.--Hu Baihui (talk) 03:06, 8 December 2020 (UTC)
Yu Yizhi 喻意志. (2002). 乐府诗集成书研究 [A study on the compilation of the Collection of Yuefu Poertry]. Shanghai:Shanghai Normal University 上海师范大学 (10)105-107.
Terms and Expressions
Collection of Yue Fu Poetry《乐府诗集》
Jiaomiao songs郊庙歌辞
Yanshe songs燕射歌辞
Guchui drum songs鼓吹曲辞
Hengchui songs横吹曲辞
Xianghe songs相和歌辞
The Peacock Flies to Southeast 《孔雀东南飞》
Mulan Poetry《木兰辞》--Hu Baihui (talk) 03:24, 8 December 2020 (UTC)
Questions
1.When was Yuefu Poetry compiled？
2.Which institution did "Yuefu" belong to?
3.What are The Peacock Flies to Southeastbased on?--Hu Baihui (talk) 03:34, 8 December 2020 (UTC)
Answers
1.In Song Dynasty.
2.It belongs to the institution in charge of music.
3.It is based on a marriage tragedy.--Hu Baihui (talk) 10:41, 20 December 2020 (UTC)
Cuisines - Eight Major Cuisines in China - Hu Jin 胡瑾 - MTI 英语笔译
Eight Major Cuisines of China
1. A Brief Introduction About Chinese Cuisines
As early as the Shang and Zhou dynasties, China's food culture began to take shape. At that time, Tai Gongwang was the most representative. In the Spring and Autumn Period and Warring States Period under the reign of Duke Huan of Qi, the flavors of North and South dishes showed differences. In the Tang and Song Dynasties, the southern cuisine and the northern cuisine formed their own systems. In the Southern Song Dynasty, sweet in south and salty in north was formed. At the beginning of the Qing Dynasty, Shandong Cuisine, Sichuan Cuisine, Cantonese Cuisine, and Su Cuisine became the most influential local dishes at that time, and they were called the "four major cuisines." By the end of the Qing Dynasty, four new local cuisines, Zhejiang Cuisine, Fujian Cuisine, Hunan Cuisine, and Anhui Cuisine, were differentiated and formed, which together constituted the "eight major cuisines" of traditional Chinese cuisine. (Lv Xiaomin 2009, 64)
2. The Classification of Chinese Cuisines
China covers a large territory and has many nationalities, hence a variety of Chinese food with different but fantastic and mouthwatering flavors. Since China's local dishes have their own typical characteristics, generally, Chinese food can be roughly divided into eight regional cuisines, which has been widely accepted. (Shi Hongmei 2009, 34)
2.1 Shandong Cuisine
Consisting of Jinan Cuisine and Jiaodong Cuisine, Shandong Cuisine, clear, pure and not greasy, is characterized by its emphasis on aroma, freshness, crispness and tenderness. Shallot and garlic are usually used as seasonings so Shangdong dishes tastes pungent usually. Besides, Soups are given much emphasis in Shangdong dishes. Thin soup features clear and fresh while creamy soup looks thick and tastes strong. Jinan Cuisine is adept at deep-frying, grilling, frying and stir-frying while Jiaodong division is famous for cooking seafood with fresh and light taste. (Shi Hongmei 2009, 45)
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2.2 Sichuan Cuisine
Sichuan Cuisine, known often in the West as Szechuan Cuisine, is one of the most famous Chinese cuisines in the world. Characterized by its spicy and pungent flavor, Sichuan Cuisine, prolific of tastes, emphasizes on the use of chili. Pepper and prickly ash also never fail to accompany, producing typical and exciting tastes. Besides, garlic, ginger and fermented soybean are also used in the cooking process. Wild vegetables and animals are usually chosen as ingredients, while frying, frying without oil, pickling and braising are applied as basic cooking techniques. The major Sichuan dishes include Kung Pao Chicken and Bean Sauce Tofu. (Shi Hongmei 2009, 48)
2.3 Guangdong Cuisine
Tasting clear, light, crisp and fresh, Guangdong Cuisine, familiar to Westerners, usually chooses raptors and beasts to produce originative dishes. Its basic cooking techniques include roasting, stir-frying, sauteing, deep-frying, braising, stewing and steaming. Among them steaming and stir-frying are more commonly applied to preserve the natural flavor. Cantonese are known to have an adventurous palate, able to eat many different kinds of meats and vegetables, which originate from other parts of the world. It doesn't use much spice, just bringing out the natural flavor of the vegetables and meats. (Shi Hongmei 2009, 52)
2.4 Fujian Cuisine
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Consisting of Fuzhou Cuisine, Quanzhou Cuisine and Xiamen Cuisine, Fujian Cuisine is distinguished for its choice of seafood, beautiful color and magic taste of sweet, sour, salty and savory. The most distinct feature is their "pickled taste". (Shi Hongmei 2009, 55)
2.5 Jiangsu Cuisine
Jiangsu Cuisine, also called Huaiyang Cuisine, is popular in the lower reach of the Yangtze River. Aquatics as the main ingredients, it stresses the freshness of materials. Its carving techniques are delicate, of which the melon carving technique is especially well known. Cooking techniques consist of stewing, braising, roasting, simmering, etc. The flavor of Huaiyang Cuisine is light, fresh, sweet and delicate. Jiangsu Cuisine is well-known for its careful selection of ingredients, its methodology of meticulous preparation methodology, and its not-too-spicy, not-too-bland taste. (Shi Hongmei 2009, 58)
2.6 Zhejiang Cuisine
Comprising local cuisines of Hangzhou, Ningbo and Shaoxing, Zhejiang Cuisine, not greasy, wins its reputation for freshness, tenderness, softness, smoothness of its dishes with mellow fragrance. And Hangzhou Cuisine is the most famous one among the three. (Shi Hongmei 2009, 62)
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2.7 Hunan Cuisine
Hunan Cuisine consists of local cuisines of Xiangjiang Region, Dongting Lake and Xiangxi Coteau. It characterizes itself by thick and pungent flavor. Chili, pepper and shallot are usually necessities in this division. (Shi Hongmei 2009, 65)
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2.8 Anhui Cuisine
Anhui Cuisine focuses much more on the temperature in cooking. Its major cooking methods are braising and stewing. Often hams and sugar will be added to improve taste and flavour of the dishes. (Shi Hongmei 2009, 68)
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3. A Comparison of Chinese-Western Diet Culture
Chinese and western cultures have always been two major factions in the world culture, and diet plays a very important role in the two cultures. The differences in cultures create the differences between Chinese and Western food cultures. So there are many differences between Chinese and Western food under the two different cultural backgrounds.(Caihua 2009, 56)
Firstly, the western diet is mainly based on flour, with abundant raw materials, and its cooking method is simpler than that in China. But it also pays great attention to taste. Besides, western diet takes nutrition as the highest criterion, with special emphasis on the nutritional components of food. For example, whether the contents of protein, fat, carbohydrate, vitamins and various inorganic elements are properly matched, whether the heat supply is just right, whether these nutritional components can be fully absorbed by eaters and whether there are other side effects. (Caihua 2009, 55)
However, Chinese cuisine pays more attention to the color, aroma and taste of dishes. The purpose of Chinese people's diet is not only to satisfy their hunger, but also to satisfy their desire for delicious food, which brings pleasure to both their body and mind. Compared with Chinese diet which pays attention to taste, western diet is a rational diet. Furthermore, westerners prefer cold dishes while Chinese like hot food. For Chinese, one should eat the food while it is still hot. What’s more, westerners believe that dishes are hunger-filled, so they specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. (Caihua 2009, 56)
There are also differences in the names of dishes. Many Chinese dishes often contain a lot of historical and cultural information. For example, Dongpo Meat(Braised Dongpo Pork) is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty. Some dishes are also related to allusions and legends, for example, Fotiaoqiang(Buddha jumps over the wall) is a legend. In contrast, the names of western food are much simpler. For example, fried chicken legs, hamburgers and seafood soup are almost all named after the raw materials and cooking methods. (Caihua 2009, 57)
References
Bi Jiwan 毕继万. (1999). 跨文化非语言交际 [Cross-cultural Nonverbal Communication]. 外语教学与研究出版社 Foreign Language Teaching and Research Press 78-83.
Cai Hua 蔡华. (2009). 试论中西饮食文化的差异 [On the Differences between Chinese and Western Food Culture]. 邵阳学院学报 Journal of Shaoyang University 56-67.
Du Xuezeng 杜学增. (1999). 中英文化习俗比较 [Comparison of Chinese and English Cultural Customs]. 外语教学与研究出版社 Foreign Language Teaching and Research Press 212-217.
Lv Xiaomi, Ding Xiao, Dai Yangyong 吕晓敏, 丁骁, 代养勇. (2008). 中国八大菜系的形成历程和背景 [The Formation Process and Background of Eight Major Cuisines in China ]. 中国食物与营养 Food and Nutrition in China (10) 62－64．
Shi Hongmei 史红梅. (2009). 地理教学中我国地域饮食文化差异研究 [Study on the Differences of Regional Diet Culture in Geography Teaching in China]. 河北师范大学 Hebei Normal University 34-68.
Terms and Expressions
pot-stewed fowl 卤味
stewing and simmering 炖，煨
prickly ash 花椒
fermented soybean 豆鼓
Braised Dongpo Pork 东坡肉
Buddha Jumps over the Wall 佛跳墙
Kung Pao Chicken 宫保鸡丁
Bean Sauce Tofu 麻婆豆腐
Questions
1. How many types of cuisines are there in china?
2. What’s differences between Chinese and western diets?
3. What is the origin of Dongpo Meat?
Answers
1. Eight
2. 1. The western cooking method is simpler than that in China. 2. Western diet pays attention to the nutrition while Chinese cuisine pays more attention to the color, aroma and taste of dishes. 3. Western diet is a more rational diet. 4. Westerners prefer cold dishes while Chinese like hot food. 5. Westerners specialize in "hard dishes" such as large pieces of meat and whole chickens; while Chinese mainly eat lots of vegetables and little meat. 6. There are also differences in names of dishes.
3. It is said to be cooked according to recipes handed down by Su Dongpo, a literary giant in Song Dynasty.--Hu Jin (talk) 15:52, 21 December 2020 (UTC)
Folk Art: Chinese Paper-cutting - Jiang Fengyi 蒋凤仪 202070080636 MTI 英语口译
Chinese Paper-cutting 剪纸
Text
Introduction
With a long history, the Chinese paper-cutting could be dated back to 2000 years ago according to the archaeological records. It originated in ancient ancestor worship activities in which people pray for their ancestors and gods. Later, with the widespread paper-cutting techniques and people’s growing love, it gradually served as the decorations for the doors, walls, mirrors, lanterns and so on. Nowadays, paper-cutting has already become an integral part of Chinese traditional culture and serves as a window of the Chinese folk culture. (Jiao Youtian 2016, 3)
History
The skill of cutting and carving appeared way before the invention of paper, and a number of materials, from the bark, leaves and animal skin, to later silk, were cut into certain shapes to decorate things, which laid a solid foundation for the art of paper-cutting. (Li Youyou, Zhang Jingjuan 2015, 7)
As the paper is not easy to preserve, few of the paper works could survive to modern times. “The earliest such work surviving are five examples dating from the Northern Dynasties period (386-581), unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.” (Lu Zhongmin 2002, 8)
In the Tang dynasty the custom of paper-cutting began to be popular, and the handicraft man cut paper to different shapes, each given a special name. Namely, the shape of square was named “Fangsheng”, the flower-shaped “Huasheng”, the people-shaped “Rensheng”. Two pieces of “Huasheng”, which were the remains in the Tang Dynasty, are preserved now in Shōsō-in in Japan. (Li Youyou, Zhang Jingjuan 2015, 7-8)
By the Song Dynasty, with the prosperous economy and culture, in addition to daily decoration, paper-cutting was used in other crafts such as porcelain and blue calico. (Li Youyou, Zhang Jingjuan 2015, 8)
The art of paper-cutting became mature in Yuan, Ming, and Qing dynasties. There emerged well designed paper-cutting works in the Yuan dynasty, and collectors began to collect paper-cutting as artworks. By the Ming Dynasty, the application of paper-cutting became even wider, with clip gauze lantern as a representative. It is a lantern with paper-cutting clipped in, candlelight reflecting the pattern. (Li Youyou, Zhang Jingjuan 2015, 8)
Since its birth, the art of paper-cutting has never been interrupted. In its long history, it evolved with pottery, printing, dyeing, and other forms of art, being an indispensable part of people’s life. (Li Youyou, Zhang Jingjuan 2015, 8)
Five Regions
The distribution of Chinese folk paper-cutting, combining with the historical changes, geographical and ecological environment changes, cultural development differences, and so on, can be divided into five regions. (Wang Minbo 2006, 106)
Northeast Changbai Mountains region: It mainly covers the Changbai Mountain area in Heilongjiang Province and Liaoning Province. As the birthplace of the nation of Man, the paper-cutting here herited the culture and customs of Man. (Wang Minbo 2006, 106)
Yellow river basin region: With the north of Shaanxi' paper-cutting as the center, it is simple but more expressive because of its rough lines and designs. (Wang Minbo 2006, 106)
Yangtze River basin region: It covers paper-cutting in the Provinces of Sichuan, Hubei, Hunan and Jiangsu. Influenced by folk farming culture and the Confucian culture in the Han dynasty, paper-cutting in this region is in the rough in shape but bears a sense of delicacy. (Wang Minbo 2006, 106)
Southeast coastal region: It is highlighted by the paper-cutting of Zhejiang and Fujian Provinces. Paper-cutting in this region, with a richer life, especially in Jinhua, Zhejiang Province, and Foshan, Guangdong Province, have their own features in the history of cultural development. The vein is also more distinct, and it tends to be elegant and commonly appreciated. (Wang Minbo 2006, 106)
Southwest minority region: It is characterized by paper-cutting in the minorities in Provinces of Yunan and Guizhou. Many paper-cuttings are combined with embroidery patterns. The religious beliefs of this region obviously involved in the art of paper-cutting. (Wang Minbo 2006, 107)
Categories
There are various ways to make paper-cutting works, including folding paper-cutting, smoked paper-cutting, color-blocking paper-cutting, and copper-lined paper-cutting, but the most common ones are mono-colored and dot-colored. (Li Youyou, Zhang Jingjuan 2015, 8)
Mono-colored paper-cutting refers to paper-cuttings cut or curved with a single-colored paper, mostly in red. The Chinese revered red since ancient times, and whenever there are grand celebration ceremonies or festivals, red is the main color, demonstrating warmth, passion, brightness, and happiness. Besides red, mono-colored paper-cutting is also available in black or other colors, which are used according to different circumstances, among which white paper-cutting is mostly used, as it could serve as the base sample for embroidery. (Li Youyou, Zhang Jingjuan 2015, 8)
Dyed paper-cutting is also called dotted paper cuttings. The handicraftsman would mostly choose Xuan paper as the material, a kind of thin white paper that absorbs water easily. Twenty or thirty pieces of such paper are put into a pile and the pattern is carved out with a knife. Then the mass of paper is dyed. The colors become rich and elegant after dying, with endless changes and a strong local flavor. The dyed paper-cutting is mainly found in Hebei, Shanxi, and Guangdong Provinces, among which the dotted paper cuttings in the Wei County, Hebei owns a very unique style. (Li Youyou, Zhang Jingjuan 2015, 8)
Themes
Folk paper-cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious beliefs. Its connection with the major festivals and traditional customs finds its full expression in every aspect of life. Paper-cutting is an essential folk activity in the villages. Traditionally, on the 23rd day of the twelfth lunar month, women "drop their hoes and pick up scissors to cut papers"; on the 28th, flowers are pasted on the windows. On this day, every family paste window decorations, new year’s pictures, and Spring Festival couplets to create a lively environment for the new year. (Li Youyou, Zhang Jingjuan 2015, 8)
It is the rural working women who design and create the majority of the delicate paper-cuttings. When they are five or six years old or seven or eight years old, they begin to follow their mothers and grandmothers to learn paper-cutting. Mothers would pass on their treasured paper-cutting patterns to their daughters and daughters-in-law as family heirlooms. This is how China’s folk paper-cutting has been passed down from generation to generation. They devoted themselves to the paper-cutting that are rich in connotations such as prosperity, peace and good fortune, happiness, health, and longevity. It is the inheritance of this spirit that has enabled the art of paper-cutting to last for thousands of years. (Li Youyou, Zhang Jingjuan 2015, 9)
References
Jiao Youtian. 矫有田. (2016). 中华剪纸绝艺 [Chinese paper-cutting]. 济南：济南出版社 Jinan: Jinan Press.
Li Youyou, Zhang Jingjuan. 李有有&张静娟. (2015). 剪纸 [paper-cut]. 北京: 中国旅游出版社 Beijing: China Travel & Tourism Press.
Lu Zhongmin. (2002). Folk Handicrafts. Beijing: Foreign Language Press.
Wang Minbo. 王敏伯. (2006). 中国民间剪纸史 [The History of Chinese Folk Paper-cut Arts]. 杭州: 中国美术学院出版社 Hangzhou: China Academy of Art Press.
Terms and Expressions
color-blocking paper-cutting 拼色剪纸
copper-lined paper-cutting 铜衬剪纸
dyed paper-cutting 点染剪纸
mono-colored paper-cutting 单色剪纸
smoked paper-cutting 熏样剪纸
Shōsō-in 正仓院
Spring Festival couplets 春联
totem worship 图腾崇拜
Turfan 吐鲁番
Questions
1. Where did people found the earliest paper-cutting in China?
2. How many regions the distribution of Paper-cutting can be divided into?
3. Which two types of paper-cutting are the most common ones?
4. What could be the themes of the paper-cutting?
Answers
1. They were unearthed in Turfan, in the Xinjiang Uygur Autonomous Region.
2. Northeast Changbai Mountains area, Yellow river basin area, Yangtze River basin area, Southeast coastal area, and Southwest minority areas.
3. Mono-colored paper-cutting and dyed paper-cutting.
4. Folk paper cutting has a wide range of subjects, including auspicious patterns, historical allusions, mythological dramas, landscapes, flowers, birds, fish and insects, twelve zodiac animals, pavilions, totem worship, and religious beliefs. --Jiang Fengyi (talk) 15:52, 21 December 2020 (UTC)
Medicine, Zhang Zhongjing - Jiang Qiwei 蒋淇玮 202070080592 MTI 英语笔译
The Chinese Medical Sage - Zhang Zhongjing
Zhang Zhongjing ( original name Zhang Ji, 150 to 154 A.D.- about 201 to 219 A.D., courtesy name Zhongjing), was born in Nieyang County in Nanyang of the Eastern Han Dynasty ( located in today's Zhangzhai Village, Rangdong Town, Dengzhou City, Henan Province). He was a famous medical scientist in the late Eastern Han Dynasty and one of the most outstanding medical scientists in Chinese history, who is respected as the Chinese Medical Sage. In his childhood, Zhang Zhongjing admired Bian Que, a preeminent Chinese mediciner, and yearned for medical learning. And he once studied after Zhang Bozu. (Zhang Maoyun 2014, 19-20)
Zhang Zhongjing hated officialdom and sympathized with common people. He traveled all over the country for his medical practice, carefully studied the symptoms of typhoid fever, and read widely. After decades of collection and study, he wrote the magnificent book Treatise on Febrile and Miscellaneous Diseases, which established the treatment based on syndrome differentiation, and became a necessary classic for the study of Chinese medicine in later generations. (Tan Rongzhou 2013, 55-56)
This extraordinary man in Chinese history, our immortal medical sage, was once the Changsha magistrate. As the master of superb medical skills and a man of tender heart, he treated patients for free on the first and fifteenth days of every lunar month. At that time, yamen's gate would be crowded with a large throng of people of all ages and both sexes. Some of them carried pieces of luggage, having come a long way to be there. All the people waited for him in eagerness. Then, Zhang Zhongjing would open the gate of office and let sick people in, instead of dealing with government affairs, carefully diagnosing and treating the masses one by one. Though confronted with such a heavy workload, Mr. Zhang treated every patient carefully based on syndrome differentiation. He diagnosed them with looking, listening, questioning and feeling the pulse— four ways of diagnosis, as well as saw through the patients' appearance to perceive the root cause of their illness. As making diagnoses so full-heartedly, Mr. Zhang even skipped meals sometimes. (Zhang Deli 2019, 37)
Later, people called the doctor who sat in the drugstore to treat patients "the doctor sitting in the hall", in memory of Zhang Zhongjing. (Zhen Xueyan, Wang Limin, Liang Yongxuan 2013, 88-89)
When talking about Zhang Zhongjing, We have to mention his masterpiece Treatise on Febrile and Miscellaneous Diseases, which is an undoubted groundbreaking and peak work of traditional Chinese medicine. For years of wars and chaos in the late Eastern Han Dynasty, it turned out that various kinds of plagues were prevailing in China. And lots of people were homeless and suffered from epidemic diseases. Thus, Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases. After years of arduous hardwork, this enduring work was finally finished. (Tan Rongzhou 2013, 55-56)
There is a Chinese saying that goes, " Eating dumplings in Chinese New Year, Great Cold, and Slight Cold ( latter two belongs to 24 solar terms)." But now, except these days and the New Year's Day, many diners also feast in the air-conditioned dumpling parlors in summer. So, how did dumplings, as one of people's favorite, come into being? Speaking of this delicacy, well-respected Zhang Zhongjing has made great contributions to it. (Capital Medicine 2003, 40)
When a snowstorm was raging, Zhang Zhongjing, a former governor of Changsha, who had resigned from office, was returning to his native town. By the White River, he saw lots of homeless people in rags, with sick looks and frozen ears. (Capital Medicine 2003, 40)
Back home, Mr.Zhang was still concerned about those poor people. So he developed a recipe to help them ward off cold, called " Cold Dispelling Jiaoer Soup". Then, just on the Winter Solstice, he asked his disciples to set up a shed and a big pot under it in Dongguan, Nanyang, and give each poor person a bowl of soup with two Jiaoers. After drinking this soup, people felt warm and their ears were cured. (Capital Medicine 2003, 40)
Zhang Zhongjing passed away on the day of the Winter Solstice, and he distributed the "Cold Dispelling Jiaoer Soup" for everyone on the Winter Solstice as well. In order to commemorate him, everyone would make dumplings on the Winter Solstice Festival. And it was said that if one ate dumplings on the day of the Winter Solstice, his ears would not be frozen in winter. "Cold Dispelling Jiaoer Soup" is rarely eaten now, but the custom of eating dumplings on the Winter Solstice every year has been passed down. Besides, the kinds and shapes of dumplings have been greatly improved. (Capital Medicine 2003, 40)
In fact, the way of making "Cold Dispelling Jiaoer Soup" is to boil mutton and some cold dispelling herbs in a pot. After cooked, fish and chop them up, then wrap the stuffing in dough wrappers, with their shapes resembling human ears. Later, put them into the pot, and boil them in the original soup. Because of its ear- shaped contour and effect on preventing the ear from freezing, Zhongjing named it "Jiao Er". ( Er means eears in Chinese) There are also a Nanyang folk songs about Jiaoer, saying " not eating Jiaoers in the Winter Solstice, geting frozen ears in the winter cold." (Capital Medicine 2003, 40)
At first, Zhang Zhongjing, a little boy of 9 or 10 years old, was measuring traditional Chinese medicine, trying to imitate his medical master. At this stage, medicine inspired in him a delightful sensation of wonder, which would shape his lifelong dream of becoming a great doctor like Bian Que and helping the sick. Then, Zhang turned into an adult man, appearing to be in his middle age. He stuck to treating sick people at the gate of the Yamen on the first and fifth days in the lunar calendar. Finally, Mr. Zhang's goatee turned grey and wrinkles crawled on his kind face. However, he still wrote the Treatise on Febrile and Miscellaneous Diseases, cured patients and dealt with his favorite— traditional Chinese medicine. (Zhang Maoyun 2014, 19-20)
References
Nie Hongyan. 聂红艳. (2003). 张仲景故乡的二十四个故事(六) 饺子的来历 [Twenty-four Stories of Zhang Zhongjing's Hometown (VI) The Origin of Dumpling]. 首都医药 Capital Medicine (17) 40.
Tan Rongzhou. 覃荣周. (2013). 张仲景对我国医学发展的历史贡献 [Zhang Zhongjing's Historical Contribution to the Development of Chinese Medicine]. 兰台世界 Lantai World (07) 55-56.
Tian Yi 天一. (2020). 张仲景:“医圣”之名传天下 [Zhang Zhongjing: the Name of "Medical Sage" Spreads all over the World]. 月读 Monthly Read (03) 4-13.
Zhang Maoyun. 张茂云. (2014). 伤寒杂病论成书年代及仲景生平年代考历[J] [Journal on the Written Time of Treatise on Febrile and Miscellaneous Diseases and the Lifeyime of Zhang Zhongjing]. 中国中医药现代远程教育 Chinese Medicine Modern Distance Education of China (04) 19-20.
Zhang Deli. 张德礼. (2019). 心系百姓的“医圣”张仲景 [People's Medical Sage Zhang Zhongjing]. 现代班组 Morden Group (05) 37.
Zhao Qingxin. 赵清新. (1999). 万世医宗张仲景 ["Medical Sage" Zhang Zhongjing]. 解放军健康 PLA Health (05) 36.
Zhen Xueyan, Wang Limin, Liang Yongxuan. 甄雪燕，王利敏，梁永宣. (2013). “医圣”张仲景 ["Medical Sage" Zhang Zhongjing]. 中国卫生人才 China Health Human Resources (07) 88-89.
Terms and Expressions
medical sage 医圣
Treatise on Febrile and Miscellaneous Diseases《伤寒杂病论》
treatment based on syndrome differentiation/ diagnosis and treatment based on an overall analysis of the illness and the patient's condition 辩证施治
yamen 衙门
Great Cold ( 24th solar term ) 大寒
Slight Cold ( 23rd solar term ) 小寒
look, listen, question and feel the pulse -- four ways of diagnosis 望闻问切
Cold Dispelling Jiaoer Soup 祛寒娇耳汤
Questions
1. What's the honorable title Zhang Zhongjing addressed as?
2. What's the official role Zhang once taken?
3. When would Zhang treat patients for free at yamen?
4. What's the most well-known and important masterpiece Zhang ever write? What's his motive of writing it?
5. What's the relationship between Zhang Zhongjing and dumplings?
Answers
1. Chinese Medical Sage.
2. Changsha magistrate.
3. He treated patients for free on the first and fifteenth days of every lunar month.
4. Treatise on Febrile and Miscellaneous Diseases. Zhang Zhongjing's motive of writing this book was to lift common and poor Chinese people from the misery of diseases.
5. Dumplings are derived from the recipe " Cold Dispelling Jiaoer Soup" developed by Zhang Zhongjing.
--Jiang Qiwei (talk) 13:53, 2 December 2020 (UTC)