Culture 2022 1

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Chen Cheng 陈诚 - Economy: Chinese Currency Changes

China was one of the first countries in the world to use currency, and has been using it for over 5,000 years. During the formation and development of ancient Chinese currency, it underwent five major evolutions: the evolution of natural currency to artificial currency, the evolution from a haphazard shape to a unified shape, the evolution from local to central minted coins, the evolution from paper weights to tung bao and yuan bao, and the evolution from metal money to paper money "Jiaozi". December 1, 1948, when the People's Bank of China was established and issued the first set of RMB.

1.Natural Currency to Artificial Currency

Natural currency is replaced by currency made by human beings. The history of Chinese currency spans more than 3000 years. Currency of some type has been used in China since the Neolithic age which can be traced back to between 3000 and 4500 years ago. Cowry shells are believed to have been the earliest form of currency used in Central China, and were used during the Neolithic period. With the development of economy, such kind of currency couldn't satisfy people's needs of exchanging things. Chinese started to make money by themselves instead of relying on the natural currency(Cowry shells). This currency broadened, Cowry shells were replaced totally.

2.Haphazard Shape to Unified Shape

From the advent of bronze coins in the Shang dynasty until the Warring States period, China had many shapes of currency. During the Warring States period not only did countries mint their own currency, but also various regions within a vassal state. The famous are the shovel coins of Zhao, the knife coins of Qi, the round square-hole coins of Qin and the ant-nose coins of Chu.

Around 210 BC, the first emperor of China Qin Shi Huang (260–210 BC) abolished all other forms of local currency and introduced a uniform copper coin. Paper currency was invented in China in the 9th century, but the base unit of currency remained the copper coin. Copper coins were used as the chief denomination of currency in China until the introduction of the yuan.

3.Local to Central Minted Coins

At the beginning of the Han Dynasty, the counties were allowed to mint money freely, causing confusion over the currency. In 113 BC, Emperor Wu withdrew the right to mint coins from the counties, and the central government unified the minting of the five baht coin, which became the only legal currency at the time. This established the central government's unified management of coin minting and issuance.

4.Paper Weights to Tung Bao and Yuan Bao

The coins minted since the Qin and Han dynasties were usually clearly marked with the weight of the money in the text, such as "half tael", "five baht", etc. (twenty-four baht is one tael). In the fourth year of the Tang Dynasty (621), Li Yuan decided to reform the coinage system, abolishing the ancient coins of different weights and taking the meaning of "opening up a new era" and casting the "Kaiyuan Tongbao" coin. The "Kaiyuan Tongbao" is a reversal of the old system of the Qin and Han dynasties, with no weight written on the coin, which is the evolution of Chinese ancient currency from paper weight to Tongbao and Yuanbao. "Kaiyuan Tongbao" money is Chinese earliest Tongbao money. After this copper money no longer use the money mark weight, all to Tongbao, Yuanbao, it has been used to the Xinhai Revolution after the "Republic of Tongbao".

5.Metal Money to Paper Money "Jiaozi"

During the Northern Song Dynasty, with the development of exchange, the amount of money in circulation increased. When Emperor Taizong of the Northern Song Dynasty, 800,000 Guan of coins were minted annually, which gradually increased later. Because of the shortage of copper material for casting money, the government to make up for the shortage of copper money, in some areas to cast a large number of iron money. According to the "History of the Song Dynasty", the cast iron money in Sichuan at that time weighed as much as 25 catties and 8 taels. The emergence of "Jiaozi" was an important evolution from metal money to paper money in the history of ancient money.

6.Modern Chinese Currency

Currently, the renminbi is the official currency of the People's Republic of China (PRC). It is the legal tender in mainland China, but not in Hong Kong or Macau. The special administrative regions of Hong Kong and Macau use the Hong Kong dollar and the Macanese pataca, respectively. In the Republic of China (ROC), the New Taiwan dollar is the official legal tender in Taiwan since 2000.

With the development of the Internet and globalization, the renminbi is gradually partly replaced by e-CNY.

e-CNY, also known as digital renminbi, is a central bank digital currency issued by China's central bank, the People's Bank of China. It is the first digital currency to be issued by a major economy, undergoing public testing as of April 2021. The digital RMB is legal tender and has equivalent value with other forms of renminbi, also known as the Chinese yuan, such as bills and coins. The digital yuan is designed to move instantaneously in both domestic and international transactions. It aims to be cheaper and faster than existing financial transactions. The technology enables transactions to take place between two offline devices. The digital renminbi is seen by some commentators as a form of Chinese government surveillance and control over users and their financial transactions.

Terms

Tung Bao 通宝

Yuan Bao 元宝

jiaozi 交子

RMB 人民币

Warring States period 战国时期

the copper coin 铜板

Kaiyuan Tongbao 开元通宝

the New Taiwan dollar 新台币

Questions

1. How many kinds of changes have Chinese ancient currency experienced?

2. What's the meaning of "Kaiyuan Tungbao"?

3. When did Jiaozi appear?

4. What does e-CNY aim at?

Reference

1 "河南省人民政府門戶網站 中國最早金屬鑄幣 商代晚期鑄造銅貝". big5.henan.gov.cn. Archived from the original on March 17, 2012. Retrieved June 22, 2015.

2 Giedroyc, R. (2006). The Everything Coin Collecting Book: All You Need to Start Your Collection And Trade for Profit. Adams Media. ISBN 9781593375683. Retrieved June 22, 2015.

3 "Archived copy". Archived from the original on May 3, 2012. Retrieved May 21, 2012. A snap shot view of THE HISTORY OF CHINA by YK Kwan

4 http://www.travelchinaguide.com/intro/focus/currency.htm Shell Money before Qin Dynasty

5 http://encarta.msn.com/encyclopedia_681500371_2/shang_dynasty.html Shang Dynasty Economy Encarta. Archived 2009-10-31.

6 "JiaoZi and Iron Standard – Examining world's first documented paper money system from China with lenses of Austrian economics". Rothbardian Gold Price.

7  宏皓：《金融五千年》第五集《中国最早的货币专家》．甘肃日报 

8 统一货币 控制经济．中国经济网 ．2009年04月28日 

9  中国古代货币的演变．博宝艺术网 

10  中国货币史．豆瓣 link title

Chen Kun 陈锟 - History:Wang Shouren

Brief Introduction

WangShouren (1472-1529), originally known as Wang Yun, also named Wang Yangming, was born in Yuyao, Zhejiang Province. Wang was the son of Wang Hua, the Minister of Nanjing Ministry of officials.Wang Shouren was an outstanding thinker, litterateur, militarist and educator in the Ming Dynasty.

In 1499, he was admitted as a jinshi and served as the minister of punishment. He was appointed as the yicheng of Longchang in Guizhou, the county magistrate of Luling, the imperial censor of Youjin capital, the grand coordinators of southern Jiangxi provinces, the governor of Guangdong and Guangxi provinces, the minister of Nanjing Military Department, and the imperial censor of left capital in his political career. He successively pacified the banditry and chaos of southern and Jiangxi provinces, Guangdong and Guangxi provinces, and the chaos of Zhu Chenhao, and was granted the title of new earl. He became one of the three literary ministers who won the title of nobility by virtue of military exploit in the Ming Dynasty. He died in 1529，at the age of 57.

The basic course of the development of the philosophy of the mind in the Ming Dynasty can be summarized as follows: Chen Xianzhang started, Zhan Ruoshui improved, and Wang Shouren integrated. Wang Shouren's Yangming School of mind was later spread to Japan, Korea and other countries. Its disciples are numerous and are known as "Yaojiang school" in the world. His article is broad and prosperous, and there is a free and easy spirit between the lines. His Complete Works of Duke Wang Wencheng was handed down from generation to generation.

Longchang Enlightment

In the winter of 1506, the eunuch Liu Jin was in charge of political affairs, and arrested more than 20 people for no reason, including the imperial censor of Nanjing. WangShouren was angry with Liu Jin for his wrongdoing of innocent people. He was demoted to Guizhou Longchang (70 miles northwest of Guiyang) as the manager of Longchang post. At the same time, his father, Wang Hua, was also driven out of Beijing and transferred to the position of minister of Nanjing.

During the journey, WangShouren was hunted by Liu Jin, and he forged a diving suicide to avoid being robbed. WangShouren escaped the hunt and secretly went to Nanjing to meet his father Wang Hua. Wang Hua said to him, "since the imperial court has appointed you, you have the responsibility. You'd better take office." Then he set out on his way to Longchang, Guizhou, where "thousands of mountains are thin and Miao and Liao live together". At that time, Longchang was still an uncivilized area. WangShouren was not discouraged. He taught the local people according to their customs and was supported by the people. During this period, he had a new understanding of the central idea of the University. WangShouren realized that "the way of saints is self-sufficient, and those who seek reason from it are wrong." During this period, he wrote "dogma to show all the students in the Longchang", which is called "Longchang Enlightenment" in history.

Unity of Knowledge and Practice

In 1508, WangShouren, the master of philosophy of the mind, gave a lecture at Guiyang Civilization Academy, and put forward the theory of unity of knowledge and Practice for the first time. The so-called "unity of knowledge and practice" is not the relationship between general knowledge and practice. "Knowledge" mainly refers to people's moral consciousness and ideology. "Practice" mainly refers to people's moral practice and practical action. Therefore, the relationship between knowledge and practice refers to the relationship between moral consciousness and moral practice, and also includes the relationship between some ideas and practical actions. WangShouren's thought of "unity of knowledge and action" includes the following two meanings.

1. There is practice in knowledge, and there is knowledge in practice. WangShouren believes that practice and knowledge is one thing and cannot be divided into two parts. "Practice and knowledge are two words,but be mentioned at the same time". From the perspective of moral education, WangShouren strongly opposes the disconnection between knowledge and practice and "knowledge but not practice" in moral education, and prominently attributes all morality to the conscious practice of individuals, which is of positive significance. Because from the perspective of moral education, moral consciousness is inseparable from moral behavior, and moral behavior is inseparable from moral consciousness. The two are inseparable from each other. Knowledge must be manifested as practice, and failure to do so cannot be regarded as true knowledge. Moral cognition and moral consciousness must be manifested in moral behavior. If we do not practice, we cannot be regarded as attaining true knowledge. WangShouren believes that conscience can do nothing but practice consciously, that is, knowledge. This is undoubtedly profound.

2. Knowing is practicing, knowing decides practicing. WangShouren said ,"knowledge is the idea of practice, practicing is the process of knowing; knowing is the beginning of practicing, and practice is the accomplishment of knowledge". It means that morality is the guiding ideology of human behavior, and acting according to the requirements of morality is the time to reach "conscience". The idea activity under the guidance of morality is the beginning of behavior, and the behavior conforming to the requirements of moral norms is the completion of "conscience".

Achievements

WangShouren opposes regarding Confucianism of Confucius and Mencius as unchanging commandments, and opposes blindly obeying feudal ethics. Instead, he emphasizes personal initiative. The philosophical proposition of "bringing conscience" and the methodology of "unity of knowledge and practice" put forward by him have the significance of breaking through the feudalistic ideas and calling for the liberation of thought and personality. Wang Shouren received a wide range of disciples to publicize his ideas, which was known as "Yangming school" (also known as "Yaojiang school"). His works, including 38 volumes of the Complete Works of Duke Wang Wencheng , were appraised by the academic circles as the earliest enlightenment philosophy in the late feudal medieval society of China.

In terms of calligraphy, WangShouRen's calligraphic works are mainly cursive. His calligraphy was mainly based on Wang Xizhi, and also on the bone techniques of Ouyang Xun and Huang Tingjian. He integrated the philosophy of the mind into calligraphy, which enriched Chinese calligraphy theory. His main works are "University Questions", " Complete Works of Duke Wang Wencheng" and "Chuanxilu ". His works are included in the History of the Ming Dynasty and The Finest of Ancient Prose.

Terms and Expressions

1.jinshi进士

2.minister of punishment刑部尚书

3.yicheng of Guizhou Longchang贵州龙场驿丞

4.magistrate of a county知县

5.the imperial censor of Youjin capital右佥都御史

6.grand coordinators巡抚

7.governor总督；明初在用兵时派往地方巡视监察的官员;清朝始正式成为地方最高长官,一般管辖两省的军事和政治,也有管三省或只管一省的

8.the minister of Nanjing Military Department南京兵部尚书

9.pacify平定

10.banditry土匪行为(或活动)

11.Zhu Chenhao朱宸濠

12.new earl新建伯

13.literary minister文臣

14.military exploit军功

15.Chen Xianzhang陈献章

16.Zhan Ruoshui湛若水

17.Yaojiang school姚江学派,即阳明学派(明朝中晚期的主流学说)

18.Longchang Enlightment龙场悟道

19.Liu Jin刘瑾

20.take office上任

21.University《大学》

22.unity of knowledge and practice知行合一

23.Guiyang Civilization Academy贵阳文明学院

24.Confucianism of Confucius and Mencius孔孟之道

25.Complete Works of Duke Wang Wencheng《王文成公全书》

26.Wang Xizhi王羲之

27.Ouyang Xun欧阳询

28.Huang Tingjian黄庭坚

29.University Questions《大学问》

30.Chuanxilu《传习录》

31.History of the Ming Dynasty《明史》

32.The Finest of Ancient Prose《古文观止》

Questions

1. What is the basic course of the development of the philosophy of the mind in the Ming Dynasty?

2. Where did Wang Shouren comprehend the philosophy of mind?

3. What theory did WangShouren put forward when he gave lectures in Guiyang?

4. What does WangShouRen think is the relationship between knowledge and action?

5. What is the historical significance of the unity of knowledge and action?

References

1. 王阳明, 《传习录》;中州古籍出版社2008年1月

2. 《明史》 列传第八十三 王守仁传,国学网[引用日期2014-01-21]

3. 当年明月．《明朝那些事儿》：浙江人民出版社，2011年11月第1版

4. 杨嵘 编著．《王阳明大全集》．北京：中国华侨出版社，2011年

5. 余姚历史人物——四大先贤 ．浙江在线[引用日期2020-08-20]

6. 《王守仁》，中国网[引用日期2014-01-20]

Chen Tianyu 陈天钰— Martial Arts:Chinese Swordsman Spirit

--Chen Tianyu (talk) 04:46, 30 May 2022 (UTC)

Martial Arts: Chinese Swordsman Spirit1. 1.Foreword “We haven’t seen a real swordsman arts for a long time.” The Chinese swordsman spirit has quite a long history and won a worldwide reputation. From Gu long（古龙） to Jin Yong（金庸）, from Guo Jing（郭靖） to Yang Guo（杨过）.Though as an exception, I haven’t read that much Swordsman novels or watched swordsman TV series, the swordsman spirit has always been a hot topic in Chinese literary works and has become the precious youth memories for lots of Chinese. However, nowadays, as the emergence of the fast-food culture, many producers produced some TV series or movies in the name of Chinese swordsman spirit in order to cater to the market without even knowing the real core of Chinese swordsman spirit, which makes the audiences sigh disappointedly “The swordsman videos in the past is about the plots and subplots for the well-being of citizens and justice in the whole countries while the swordsman videos these days focuses overly on the love affairs between couples and the identification as swordsman just functions as the tool for the characters to play cool, which makes them seems like a joke.” Still, we do have some excellent Chinese swordsman art works nowadays. For example, Biaoren（镖人）, which is known as “ the king of Chinese comic arts”, is was in 80s and 90s last century. Based on this situation, this essay will discuss the topic “Martial Arts: The development of Chinese Swordsman Spirit” by mainly following the time order from 4 perspectives--- the definition, the history of Chinese swordsman spirit, the development of Chinese swordsman art works , and the application of Chinese swordsman spirit in society today. Chinese swordsman spirit is an indispensable part of Chinese cultures and deserves to be inherited and spread. 2.Definition As Bing dictionary suggests “Swordsman refers to someone who uses a sword, especially in a skillful way.” In China, swordsman, also known as wuxia（武侠）, extends to someone who has excellent martial arts skills and empathetic minds. In my opinion, the core of Chinese swordsman spirit is the upright determination on building a better world and the sympathetic care for the well-being for humans. Let’s then check the definition from wikipedia ---“Swordsmanship or sword fighting refers to the skills of a swordsman, a person versed in the art of the sword. The term is modern, and as such was mainly used to refer to smallsword fencing, but by extension it can also be applied to any martial art involving the use of a sword. The formation of the English word "swordsman" is parallel to the Latin word gladiator, a term for the professional fighters who fought against each other and a variety of other foes for the entertainment of spectators in the Roman Empire. The word gladiator itself comes from the Latin word gladius, which is a type of sword.” It explains the word “swordsmanship” from the formation of the word, providing us a perspective on the understanding of the Chinese Swordsman spirit. Actually, swordsmen are not only exist in China but also quite popular in other country, especially among the East Asian countries. The Japanese swordsmen prevails too in ancient times and also nowadays. According to the historical records, Japanese swordsman spirit has many things to do with that of China and innovates itself of course with the development of their own cultures. When it comes to the comparison with western knights’ culture, Chinese chivalrous culture shares many common points with western knights’ culture but also differs in aspects like the love values, the classes they symbolize and so on. In conclusion, swordsman refers to a group of people at the very beginning, but as the influences of this group of people continue spreading, their skills and most importantly, their spirit has been hold dear to people for years. 3.History of Chinese swordsman spirit Swordsman spirit is the product of Chinese society, culture and ideology, and a form of expression of the Chinese nation to vent its emotions. It has the unique temperament and emotion of the Chinese nation and the inherent morality of the Chinese society. Being active in civil life, Chinese swordsmen are a pure product of the mass culture of the lower society.As it is estimated, long before in the Spring and Autumn Period, we have the first ever swordsman in history--- Mo-tse（墨子）, also known as Mozi is regarded as the first people to have built the Mohist school（墨派） aimed at helping people in need and against the violence, which quite squares with the swordsman spirit we know nowadays and thus be regarded as the representative of Chinese swordsman spirit in early period. In Han Dynasty, what Sima Qian（司马迁） summed up becomes the core concept and principle of the ancient swordsman spirit. Until later times, the swordsman spirit has developed in the folk. Chivalry is developed from martial arts, and martial arts depend on chivalry. Martial arts is the foundation of chivalry, chivalry is the sublimation of personality. The swordsman spirit is actually recognized by civil society as a code of ethics that governs human relations. In the Biographies of Knight errant （《游侠列传》），Sima Qian gives a comprehensive evaluation of xia and Outlines the basic characteristics of xia（侠） in detail. "Now the ranger, although its line is not in justice, but its word is true, its action will be sincere, do not love its body, to the courtyard trapped. There are many people who have lived and died and lived without pity or shame."（“今游侠，其行虽不轨于正义，然其言必信，其行必果，已诺必诚，不爱其躯，赴士之院困。既已存亡死生矣，而不矜其能，羞伐其德，盖亦有足多者焉。”）Sima Qian ignores the social attribute of justice in chivalry, and thinks that chivalry has an ideal personality and lofty moral quality. What stands out in chivalry is honesty, loyalty and commitment, not fearing death, not taking credit, not being proud, not being brave. In Tang dynasty, Li Deyu（李德裕） pointed out in the The Legendary of Heroes（《豪侠传》） that "A man of chivalry is a very man. He must be based on righteousness and chivalrous. These two qualities cannot stand without each others’ support. "（“夫侠者，盖非常人也，虽然以诺许人，必以节义为本，义非侠不立，侠非义不成。难兼之矣。”）Righteousness is the standard of chivalrous behavior legitimacy. Although Chinese swordsmen are different in appearance, they share common points like giving aid to the needy, punishing the evil and promoting good, loyalty and being fearless facing death. They embody the wisdom and power of Chinese martial arts, so that the combination of martial arts and chivalry becomes the embodiment of force and morality. 4.The development of Chinese swordsman art works As it known to all, the development of Chinese swordsman art works has marked a new era in 80s and 90s last century. Huang Feihong（黄飞鸿）, Crouching Tiger Hiddedn Dragon（卧虎藏龙）, Ashes of Time（东邪西毒）, The Legend of The Condor Heroes（射雕英雄传）and son on are all typical examples represent the understanding of Chinese Swordsman spirit at that time. And there are also many art works that though don’t focus on portraying Chinese Swordsman spirit, still have some of the manifestation of it. 80s and 90s last century is regarded as the third and fourth wave in the development history of Chinese Swordsman art works and is also seen as the peak of the whole period. The third creation wave is the revival period from 1980 to 1989. After the reform and opening up in 1978, martial arts films in the Chinese mainland regained vitality. The coming of this wave was marked by the release of Shaolin Temple（少林寺） in 1982. From 1983 to 1989, 40 martial arts films were made in the mainland. The fourth creative wave was the boom period from 1990 to 1999: the wave of reform and opening up and the integration of cultures across the Taiwan Straits.The number of martial arts films co-produced by the Mainland and Hong Kong and Taiwan surged, reaching its peak in 1993. The swordsman film series are developing strongly, including the Swordsman trilogy （笑傲江湖三部曲）and The Huang Feihong series（黄飞鸿系列）. In addition, during this period, the martial arts films "old appearance changed a new look"（“旧貌换新颜”）, "New Longmen Inn"（新龙门客栈）, "New Fire Red Lotus Temple"（新火烧红莲寺） and so on have been released. "National justice" （家国情怀）is the goal that heroes defend in martial arts movies regardless of life and death. The narrative background of Huang Feihong series is that the Chinese nation is facing a serious national crisis. Huang Feihong attaches great importance to the national interests, goes through many dangers and obstacles, and finally punishes the crooked sycophants as expected and protects the national interests. The swordsman series contains the meaning of chivalry. The chivalry of Linghu Chong （令狐冲）is in sharp contrast to the infighting in the rivers and lakes. In the film, various groups of characters fight for "Sunflower Bible"（葵花宝典） to promote the development of the plot. In contrast, facing the "Sunflower Bible" , Linghu chong is totally unmoved, in the light boat playing and singing "swordsman"（笑傲江湖）. In addition to the chivalrous style of linghu Chong, the chivalrous gentleness of "man dies for someone who knows himself well" is also reflected in the life-or-death friendship between Liu Zhengfeng （刘正风）and Qu Yang（曲洋）. After Liu Zhengfeng died to protect Qu Yang, Qu Yang entrusted linghu Chong with the swordsman and sailed to the middle of the lake alone, leading the boat to burn and die with Liu Zhengfeng.The 1980s and 1990s were a peak of Chinese swordsmen films, because the films integrated the characters' deep thoughts on the future direction of the nation, and the depth of their thoughts was unmatched by other swordsmen films. Wuxia films have a unique narrative ethical charm bears the unique mission of sublimating the audience's psychology. Through the soul of religion, the body of chivalry and the art of martial arts, the narrative content of martial arts films is completed. “That is when we see the manifestations of the real Chinese swordsman spirit.” 5.The application of Chinese swordsman spirit in society today When we talk about the Chinese swordsman spirit, what on earth does it mean to our nowadays society? The development of Chinese swordsman spirit is definitely not just limited to it’s definition, the history and the arts works but more importantly, it’s practical significance to the reality. Based on what is mentioned above, personally, I want to propose three main aspects which I think are most valuable--- bravery for being true self, justice for criticizing violence and sympathy for the needy. That is to say, no matter how others forced you or how stressful the environment is, with Chinese swordsman spirit, we can always stay true to ourselves and don’t need to wear the pretending mask to cater to the unnecessary and meaningless things. When we are facing the violence and injustice in society, with Chinese swordsman spirit, we dare to criticize it directly and appeal to the public attention to make an overturn with solidarity. When the needy or the disadvantaged groups are being bullied, with Chinese swordsman spirit, we are capable to stand out to supply the voice for them and protect them. Besides, though I’ve added “Chinese” before “swordsman spirit” to make it more specific, as what is mentioned before, the Chinese swordsman spirit has also been spread and innovated by many other cultures which also have their unique spirits. 6.Epilogue To be honest, I can not be called as a fan or a master of Chinese swordsman spirit for sometimes for me, it’s too hard to be deeply learned because of it’s grand background and profound connotation. When I was working on this essay, I did quite a lot research and add many weigh tones to make my words more precise and just. But as a Chinese who even has a little understandings about the Chinese swordsman spirit, I still view it as an unprecedented, irreplaceable and unique culture of our country, which makes me very proud. Every time when Chinese swordsman spirit is mentioned, it leads to a nostalgia memories and emotional feelings. For me, it’s also the same. To put an end to this essay is like saying goodbye to a romantic journey. Refrence: 1.Bing （Bing词典）swordsman 2.Wikipedia（维基百科）swordsmanship 3.手机知网：1）谢铭庭，董超(Xie Mingting, Dong Chao )从建构到表意：中国武侠电影的内在基因与叙事伦理(From Construction to Meaning Expression: The Inner Genes and 2）闫岩(Yan Yan)中国武侠文化与西方骑士文化之比研究--Chen Tianyu (talk) 13:08, 30 June 2022 (UTC)

Chen Xinyi 陈心怡 - Cuisine: Luosifen

Luosifen, also called River snails rice noodle, is a Chinese noodle dish with “offensive” oder and a speciality of the city of Liuzhou, in Guang Xi, southwest China. It consists of rice noodles boiled and served in a soup which is made by stewing river snails and pork bones for several hours with black cardamom, fennel seed, dried tangerine peel, cassia bark, cloves, white pepper, bay leaf, licorice root, sand ginger, and star anise. It usually does not contain river snail meat, but it is instead served with pickled bamboo shoot, pickled green beans, shredded wood ear, fu zhu, fresh green vegetables, peanuts, and chili oil added to the soup. Diners can also add chili, green onions, white vinegar, and green peppers to suit their taste.

History of Luosifen

Origin

According to the findings of archaeologists, in the last Paleolithic age forerunners have eaten the river snails in the White Lotus Cave and Big Dragon Pool which is in the Guang Xi province. Since the Era before Qin Dynasty, rice noodle has become the staple food to people who grow up in southern China including Guang Xi Province. However, their combination, Luosifen has appeared around 1970s-1980s. There are many assumptions about its origin. The one is that in the mid-1980s, there was a grocery store on Jie Fang South Road, operating dry-cut noodles, and its clerks used to take a handful of dry-cut noodles in the morning and cook them at the granny's river snail stall next door. Wang Ji granny who sold river snails thought it tasted very good, so she sold river snail rice noodles. The other one is that in the 1970s and 1980s, the Gu Bu Street food market became the largest distribution center for wholesale raw snails in Liuzhou, and the audience of the nearby workers' cinema liked to stroll around after the show, leading to the Gu Bu Street night market. Liuzhou people have always been fond of snails and rice noodles, and some night market owners operated both boiled snails and rice noodles. Some diners liked to add snail soup with a lot of oil and water to the rice noodles, thus forming the prototype of snail noodles. Another is that late one night in the early 1980s, several foreigners came to Liuzhou and arrived at a rice noodle stall that was about to close, as the bone broth was no longer available and only a pot of snail soup left over from cooking snails was left, the stall owner put the rice noodles into the snail soup and cooked them with vegetables and peanuts and other side dishes. The stall owner later gradually improved its ingredients and production, made into snail noodles.

The most brilliant star of Liu Zhou

More than ten years ago, Luosifen was just in the night market,but now it is not only in small "hole-in-the-wall" restaurants, but also luxury hotel restaurants. When we come to terms with Liu Zhou, people come with Luosifen. Not only because itself, but also due to its popular instant version. In 2010, Liuzhou encouraged businesses opening stores in major cities such as Beijing and Guangzhou. In 2014 local authority proposed to industrialize it into bagged instant river snails noodles for large-scale production of special snacks. During the process of rapid industrial development, the government continued to regulate the development of the industry and raised the threshold of access. These gives way to promote instant river snails rice noodles.

As of the end of 2021, Liuzhou has 127 pre-packaged snail river noodles production enterprises.Liuzhou snail noodles is going into the "bagged fast food" era, on the Internet e-commerce express, the local snacks gradually go to a broader world. In 2021, Liuzhou snail rice noodles sales revenue of the whole industry chain reached 50.16 billion yuan, including 15.197 billion yuan of bagged river snail rice noodles, an increase of 38.23%, the annual delivery volume exceeded 100 million pieces, and the turnover of physical stores nationwide was 20.68 billion yuan, an increase of 75.25%. By the way, in 2018, the skill to make the rice noodle of Luosifen has been selected in the list of intangible cultural heritage of Guang Xi Zhuang Autonoumous Region. In 2021, it has selected in the list of national intangible cultural heritage.

From China to the world

In the late 2010s, many luosifen restaurants have opened in Beijing, Shanghai, and Hong Kong, as well as in other countries such as the US. According to the data, Luosifen has sold to over 20 countries, and in 2021, the exports were valued at 8.24 billion up 89.86% on the last year.

Making process

Sour, spicy,refreshing and hot sensations with tons of umami flooding in the mouth. That’s what Luosifen is all about. To achieve that, there are the steps to make a wonderful Luosifen. 1.Cut off the lean meat from the pork bones and chop the spine directly.2. Soak the snail in water for 1 hour to remove the mud and earthy taste, and wash it again.3. Cut the ingredients into shreds and dice, pour some oil into the pot and fry the sliced tofu (the oil should be hot when frying the sliced tofu, but leave it off the fire or it will scorch), and pour the leftover oil from frying the tofu into the chili powder to make chili oil (notice that the residual heat from frying the tofu is enough, no need to add fire).4. Put the pork bones into a pot of boiling soup, add a tablespoon of rice wine to the water, and put the shredded pickled vegetables and diced pickled bean curd into the pot and stir-fry with a little oil, but do not add salt.5.Add black fungus and pork (cut off lean meat) to the pot and stir-fry them together with a little salt.6. Add a tablespoon of salt and half a tablespoon of spices and stir-fry for 2 minutes, then add half a bowl of water and put it into the bone broth after it boils.7. Boil the soup with the snail meat and enough for 1 hour, then put the chili oil you made beforehand into the pot (you can leave it out if you don't like spicy food). 8.Boil half a pot of water, put salt in the water (stir well, taste salty), when the water is boiling, put the rice noodles in the water and scald them respectively, add the prepared ingredients, and finally add the snail soup snail noodles are done.

Influence

Economy

Obviously, it supplies thousands of jobs for people,promotes the economic growth of Liu Zhou and cultivates Liu Zhou’s industrialization. Therefore, Luosifen becomes a celebrity, even an heated IP which is abused by many businessmen who just want to earn money. However, its contribution to economy is important.

Culture

Nostalgia lies behind every special dish. So dose Luosifen. It is good memory to people born and growing in Liu Zhou. It is a typical example to show the profound influence of traditional medicine culture. With the Liu River flowing right through Liuzhou, Liuzhou has great water resources for high quality river snails. Also, Liuzhou sits in a basin, so it’s quite humid and hot. Traditional Chinese medicine believes that river snails can expel heat and moisture form the body. All of this makes river snails the local’s fave.

Reference: 1. 李莉 《重口味奇迹：「柳州之光」螺蛳粉的逆袭》 2. 夏梦帆《从地方小吃到“网红”大产业》 食品地理 3. 何伟，徐海涛，农冠斌，林凡诗 《柳州螺蛳粉：从小米粉到大产业》 新华每日电讯 4. 第五批国家级非物质文化遗产代表性项目名录

Question 1.Where dose Luosifen come from? 2.What are the ingredients of Luosifen? 3.When was Luosifen selected in the list of national intangible cultural heritage? What’s Luosifen all about?

Deng Lulu 邓鲁露 - Fine Arts: Chinese Paper Cutting

Chinese Paper Cutting

Chinese paper-cutting is a folk art of cutting patterns on paper with scissors or carving knives to decorate life or to complement other folk activities. In China, paper-cutting has a wide popular base and is interwoven into the social life of people of all ethnic groups, and is an important part of various folklore activities. Its visual images and stylised formats, which continue to be passed down, contain rich cultural and historical information, express the social perceptions, moral concepts, practical experiences, life ideals and aesthetic interests of the general public, and have multiple social values such as cognition, edification, expression, expression, entertainment and communication.

Origin

Paper was invented in the Western Han Dynasty, and the art of paper-cutting could not have existed before then, but the use of thin sheets of material to make crafts through the technique of hollowing and carving was popular long before paper appeared. The earliest paper cuttings found in China are five paper cuttings of flowers from the Northern Dynasties (386-581 AD), unearthed near the Flaming Mountains in Turpan, Xinjiang.

During the Tang Dynasty, paper-cutting was already in a period of great development, and folklore also made use of paper-cutting in the form of funnel printing plates, where people carved thick paper into flower plates and funneled dyes onto cloth to form beautiful patterns.

During the Southern Song Dynasty, there were already artists who cut paper as a profession. The maturity of the paper-making industry in the Song dynasty, with its wide range of paper products, provided the conditions for the popularity of paper-cutting. For example, they were used as gifts, as window flowers, or as decorations for lanterns and tealights.

In the Ming and Qing dynasties, the art of paper-cutting matured and reached its heyday. Although the art of paper-cutting came from the folk, it became a universal art in the Qing Dynasty.

In the early twentieth century, the May Fourth New Culture Movement, advocated by advanced intellectuals such as Cai Yuanpei, Lu Xun, Liu Hannong and Zhou Zuoren, established the beginnings of Chinese folklore studies. In the 1930s, the artist Chen Zhinong began his research and creation of folkloric paper cutouts in Beijing. He used sketches and silhouettes to depict a large number of customs and folklore in old Beijing, including street vendors, workshops and artisans, food stalls and tea stalls, fairs and temples, and idle people in the marketplace.

In the 1940s, paper cut-outs based on real-life themes began to appear, and in 1944, for the first time, new folk paper cut-outs from the north-west were exhibited in the Shaanxi-Ganjiang-Ningxia border area, kicking off the development of paper-cutting art after the founding of New China. It can be said that paper-cutting in Yan'an ushered in a new era of paper-cutting in China.

After the founding of New China, under the guidance of the literary and artistic policy of "blossoming of a hundred flowers, pushing out new ideas", artists created a large number of new paper cuts expressing new socialist ideas and events, opening up the path of paper cutting creation and enriching the form and content of Chinese folk decorative arts. In addition to paper cutouts expressing the new weather in all walks of life, children, sports, acrobatics, songs and dances have also become the most common subjects for paper cutting.

Since its inception, the art of paper-cutting has been uninterrupted throughout Chinese history. It is one of the richest art forms in Chinese folk history and culture, as it has been incorporated into various folklore activities.

Classification

1. Monochrome Paper Cuttings Monochrome paper-cutting is the most basic form of paper-cutting, cut in various colours such as red, green, brown, black and gold, and is mainly used for window decorations and embroidery base patterns. It is mainly used for window decorations and embroidery base patterns. Paper cuttings used for embroidery base patterns are often combined with cut-and-stab techniques. The stabbing is done by using the point of a needle to make small dots in the fine details of the pattern, leaving a 'hidden knife' in some parts, which can be used as a basis for changing stitches when embroidering. Folding paper cuts, silhouettes and torn paper are all forms of monochrome paper cutting.

 Folding Paper-Cutting Folding paper-cutting is one of the most common methods of folk expression. The so-called folding papercut is a papercut made by folding and cutting in different ways. Folding paper cuttings are simple, easy to make, labor-saving and time-saving, shape general and certain deformation, especially suitable for the performance of structural symmetry of the form and symmetrical pattern, such as people, frogs, butterflies, turtles, reflections, fish, etc., geometric patterns, flowers, scenery, utensils and other subjects can be adapted, and unfolded extremely symmetrical, and can change a variety of suitable shape, two-party continuous, four-party continuous or multi-party continuous, which is it can long be This is one of the main reasons for its longevity, and it has played an important role in the popularisation of paper-cutting and the modelling of craft patterns in China.

 the Silhouette The silhouette is an ancient form of paper-cutting art, which expresses the shape of people and objects through their outer contours, so it focuses most on the beauty and shape of the outer contours. The tools are mainly scissors and a carving knife, and the paper is usually black or heavy-coloured paper. When expressing the silhouette of a figure, it is usually cut while looking at the object. Silhouettes are well suited to showing translucent effects and are a very distinctive type of paper cutting.

 Three, torn paper Torn paper is a new type of paper cut out from the traditional folklore. The method is to use different types of paper, using the method of tearing by hand to tear the shape, by hand instead of cutting will naturally be very limited, not suitable to show the effect of delicate work, but it is this limitation, but also shows its unique artistic personality, there is a kind of ancient and elegant simple, bold and majestic tone. In the process of tearing paper there is often a kind of randomness, a natural and natural flavour.

2. Colourful paper-cutting With the exploration and development of paper-cutting expression, the form and technique of colour paper-cutting is gradually increasing, with dot-dyeing, overlaying, colour separation, colour filling, wood printing, spray painting, outlining and colour weaving. Each form has its own characteristics and unique features: dot-dye paper cuttings nourishing, decorative strong; set of colour paper cuttings crisp, bright colour blocks; colour paper cuttings divided into distinctive, colourful; colour paper cuttings are simple, clean, sharp, all give people a different feeling.

3. Three-dimensional paper-cutting The three-dimensional paper cut-out can be monochrome or coloured. It uses a combination of painting, cutting, folding, gluing and other techniques to produce a new type of paper-cutting close to sculpture, relief, which draws on the skills of modern art, fully embodies the characteristics of realism and art romance, so that paper-cutting from a flat sense into three-dimensional, can be used for ornamental modelling and children's handicrafts [12].

Methods and techniques

1. Folding Folding paper to produce a repetitive pattern is one of the most basic paper-cutting techniques, and is also an expressive technique used in monochrome paper-cutting. The different effects it produces depend on the number and angle of the folds. When using this technique to cut flowers, the paper can be folded twice or three times before cutting, and the resulting pattern is a four-sided or six-sided flush shape. If you are cutting animals or people, the shape after folding once is symmetrical. The folding paper cut is a symmetrical pattern, so the resulting pattern has a more rhythmic feel. This technique is mostly used for cutting flowers and topiary flowers, etc.

2. Yin and Yang carving The basic effect of paper cutting is obtained through the use of yin and yang lines alone or in a mixture. Yin engraving, also known as engraving, is to carve away the outline of the structure of the object, the method of expressing lines in a large block, the effect is thick, strong, a strong sense of weight, a strong sense of black and white contrast, was cut to carve away the blank composition of the pattern, line and line are not connected. Yang engraving, also known as hollowing, is the exact opposite of shading, where the blanks are removed and the outline lines are retained. The lines of the pattern are solid, and the lines are connected. This method is smooth, clear and lusciously detailed. The combination of yin and yang is the best way to express paper cutting. The presence of both yin and yang carving methods in the same piece of work makes for a varied composition and a sharp contrast between black, white and grey in the picture, making it a highly expressive paper-cutting technique.

3. Three, piercing holes The basic outline is cut out on the paper with a knife or scissors, and then holes are pierced in the pattern with a needle, mainly to allow multiple layers of paper to be joined, while at the same time seeing the detail in the roughness. This technique is often used to embroider patterns, sometimes symmetrical, such as pillow flowers, shoe flowers, sleeve flowers, etc. When two to four of the same pattern are needed, the paper is cut and pierced with Xuan paper, and when it is unglued, there are several of the same pattern at the same time. The reason for using Xuan paper is that it is easy to adhere and thin enough to be used underneath for embroidery without affecting the aesthetic appeal. A quick and easy alternative to stapling is to use staples and staples, which also have the effect of joining multiple layers of paper.

Significance of content

Folk paper-cutting is good at combining a variety of objects together to produce the desired result. Whether one or more images are used in combination, they are all modelled by "using the image to imply meaning" or "using the meaning to construct the image", rather than according to objective natural forms. The artist is also apt to use similes to create a variety of auspicious objects, combining conventional images to express his own psychology. The pursuit of auspicious metaphors became one of the ultimate aims of the imagery combinations. Geographical isolation and cultural limitations, as well as the intrusion of adversity such as natural disasters, inspired a desire for a happy and fulfilling life. People's simple wish for good food and clothing, prosperity, health and longevity, and for everything to be as it should be, is conveyed through paper-cutting. There are many images reflecting productive life in folk paper-cutting, and one of the greatest similarities between these works is the exaggeration of the subject, such as a big fish, a big pepper, a big silkworm, a big grain, etc. Through paper-cutting, people make up beautiful images to comfort their hearts, to promote the great creativity of man in conquering nature, to build their ideal world, and to affirm the power of man and inspire the courage to continue the struggle

Questions

1.What are the earliest paper-cutting found in China?

2. What are the categories of paper-cutting?

3.What is Yin and Yang carving?

4.What is the greatest similarity between folk paper-cuttings?

References

• 赵辰昕. 唱响 非物质文化遗产保护专家访谈录[M]. 北京：中国发展出版社, 2012:295-296

•“非遗保护”在中国 ．人民网．2009-10-20[引用日期2015-10-12

•教育部办公厅关于公布第一批全国普通高校中华优秀传统文化传承基地名单的通知 ． - 中华人民共和国教育部政府门户网站[引用日期2018-12-06]

•流行于中国民间的剪纸艺术 ．中国国际广播电台国际在线．2008-12-04[引用日期2015-10-11]

•剪纸的历史 ．中华五千年[引用日期2015-10-11]

•漫话剪纸艺术 ．正北方网．2012-03-02[引用日期2015-10-11]

•刘魁立，张旭. 剪纸[M]. 北京：中国社会出版社, 2008:16-17

Deng Ruixin 邓蕊欣 - Science and Technology: Taobao(淘宝)

Science and Technology: Taobao Taobao is an online shopping website under Alibaba Group in China. It is a giant online retail platform in the Asia Pacific region. Jack Ma founded it on May 10, 2003. It is a C2C shopping website for consumers in China, Singapore, Australia, the United States. Individuals or enterprises can open their online stores on Taobao. In addition, Taobao also has an auction platform that can auction houses, land, motor vehicles, projects, and even intangible assets.

Ⅰ. The History of Taobao 1.The Early Period As early as April 2003, Ma Yun and ten employees planned Taobao construction in Hangzhou. On May 10, 2003, Taobao was established and invested by the Alibaba group. In October, the third-party payment tool"Alipay" was launched to make consumers trust the transactions on Taobao with the"guaranteed transaction mode. "The total turnover in 2003 was 34million yuan. From the beginning of Taobao's launch to July 4, 2003, the website developed rapidly, with more than 2000 new products. In August 2003, Taobao announced that it would be free for three years, attracting many small and medium-sized sellers. In 2005, Taobao surpassed eBay and began to leave its competitors far behind. Of Japan to become Asia's largest online shopping platform. In 2005, the turnover exceeded 8 billion yuan, surpassing Wal-Mart.In 2006, Taobao became the most extensive shopping website in Asia. That year, Taobao realized a possibility in China for the first time the Internet is not just an application tool. It will eventually constitute the essential elements of life. Survey data show that nearly 9 million people shop on Taobao daily. In 2008, Taobao Mall, a new B2C platform of Taobao, went online; The Wenchuan earthquake donation platform was launched, raising more than 20 million donations from netizens; In September, the monthly trading volume of Taobao exceeded the 10 billion mark. In 2009, it became the largest comprehensive store in China, with an annual trading volume of 208.3 billion yuan. On January 1, 2010, Taobao released its new home page. After that, Jusuan went online and then launched Yitao. On January 11, 2012, Taobao Mall officially announced that it was renamed"Tmall." In March 29,2012,Tmall released a new logo image.On November 11, 2012,Tmall made a big profit on singles day, claiming to sell 10 billion in 13 hours, setting a world record. On December 24, 2015, Alibaba Group officially signed a cooperation framework agreement with the information center of the national certification and Accreditation Administration. The two sides jointly launched the"Cloud Bridge"data-sharing mechanism, and Alibaba became the first e-commerce platform directly connected to the national CCC certification information database. Alibaba's small, Taobao,1688, and other e-commerce platforms will import the CCC certification information database to realize automatic verification and marking and avoid unlicensed and counterfeit certified products.

2.The Growing Period On June 20, 2018, Taobao announced that it would close the third-party charging service for mobile games, and the next opening hours would be determined. On the morning of August 8, 2018, Alibaba Taobao will enter the MR(hybrid reality)shopping field and will launch its product Taobao bought at the 2018 creation Festival. This time, Taobao cooperated with Microsoft hololens to realize the surreal future shopping experience through"mixed reality"technology. At the Taobao creation festival in September, Taobao will build a 300-square meter" future shopping street" near the West Lake. Consumers can experience the"real world" superimposed by"Machine Algorithms" and live a"science fiction life"addiction. With the help of"Taobao buy ah," consumers can realize"what they see is what they get"--where their eyes reach, and the commodity information will be intelligently identified. The accompanying comments, strategies, and other materials will be available. In the world of"Taobao buy ah, "every commodity is all-around and three-dimensional, and all kinds of information are straightforward at a glance. In January 2022, Taobao lives released the 2022 annual incentive plan to support the growth of middle waist and new talent. As of March 15, 2022, Taobao has launched the algorithm turn-off button, allowing users to turn off"personalized recommendation" with one click in the background. In March 2022, according to the introduction of"customer service Xiaomi" in the Taobao app, the random grey test is being carried out to modify the Taobao account name. The function is expected to be gradually released to cover the population in late April. In March 2022, the interconnection between Tencent and Taobao went further. Users can choose the WeChat payment method after placing an order on the Taobao app, but this function is currently in the internal test stage, and only some users can see it. On May 25, 2022, according to media reports, to prepare for the 618 promotion activities this year, Taobao set up a special project team for the yuan universe. Currently, the project team is optimizing the virtual shopping venue and preparing to launch yuan-universe shopping officially during the 618 promotion Festival. In 2022, Alibaba's Taobao app has completed the information accessibility transformation and will continue to invest and upgrade standards in the future.

Ⅱ. The Marketing Strategy 1. Product Strategy To develop efficiently, Taobao must constantly explore new advantages while consolidating its characteristics, expanding its benefits, maintaining the existing consumer groups, and fully meeting the requirements of consumer groups. In terms of product categories, to better grasp the preferences of consumer groups, we need to constantly enrich product categories, covering household appliances, building materials, clothing, jewelry, digital, and other aspects, and provide more comprehensive and detailed services for consumers groups. At the same time, Taobao has established an Internet communication platform-Aliwangwang, which increases the opportunities for interaction and communication between merchants and consumers and makes the process of online shopping more convenient for customers. Taobao provides customers with high-quality personalized services according to the service needs of different customer groups. High-quality service and rich product categories have laid a solid foundation for Taobao to grasp other customer groups.

2. Price Strategy Ma Yun once promised that when Taobao online stores began to make large-scale profits, it must be when the vast majority of Taobao members made money. At the beginning of its establishment, Taobao announced that it would provide free online trading platforms for consumers. This decision has brought great benefits to consumers. Furthermore, the free trading platform reduces the threshold of commodity trading. It advocates the principle of fair trading, which has contributed significantly to protecting the interests of sellers and buyers. In terms of price, Taobao has effectively grasped the sinking market and has a tremendous competitive advantage. Compared with the traditional sales industry, Taobao encourages major manufacturers to communicate directly with consumers, eliminating the cost of intermediate links so that products have a more competitive price advantage in pricing. With the benefit of commodity price, the manufacturer can save unnecessary expenses by quickly selling through the network platform to attract consumers with a price advantage in the commodity trading process.

3. Promotion Strategy Taobao attracts consumers with its uniqueness and novelty in terms of promotion strategies. For example, the"double 11 Carnival "held by Taobao.com, the 2020 Tmall Carnival has achieved remarkable results through the driving effect of stars and many well-known anchors. On the"double 11"day alone, the transaction volume broke the previous record with 498.2 billion yuan. There are two main promotion strategies of Taobao. The first type is cost-effective, whole point second kill. Sales volume and publicity are mainly achieved by providing consumers with affordable commodities. The second category is the limited-time promotion strategy. Time-limited promotion on Taobao is a common marketing strategy. Although consumers can enjoy specific discounts, they are also restricted by certain conditions. For example, they must buy within a particular time specified by the merchant, in the form of a complete set, or buy more than one at a time to enjoy the merchant's discounts. To some extent, such promotion strategies also promote consumers' desire to buy.

Ⅲ. The influences of Taobao 1.Economic Development By the end of 2014, Taobao had nearly 500million registered members, more than 120million daily active users, and 1billion online goods. In the C2C market, Taobao accounted for 95.1% of the market share. Taobao is developing rapidly on the mobile end. According to the latest mobile shopping report released by Analysys in 2014, the market share of mobile Taobao + tmall has reached 85.1%.Taobao has provided a large number of entrepreneurial opportunities, reducing entrepreneurial costs for a large number of small and medium-sized enterprises and individuals. By 2011, Taobao had created 2.7 million jobs. In Wantou village, Boxing County, Binzhou City, Shandong Province, more than 500 of more than 1617 households have opened online stores on Taobao. According to the survey by Alibaba group, there are 14"Taobao villages"similar to Wantou village in China, with 10000 online stores and 40000 jobs. With the expansion of the scale of Taobao and the increase in the number of users, Taobao has also changed from a single C2C online marketplace to a comprehensive retail business circle including C2C, distribution, auction, direct supply, crowdfunding, customization and other e-commerce modes.

2. Public Welfare Undertakings Thousands of disabled people have started businesses on Taobao. In October 2010, Taobao opened a public welfare channel for the entrepreneurship of the disabled, and the approved stores can enjoy free standard Wangpu, online entrepreneurship training, Taobao seller tools, and other discounts. In may 23, 2011, taobao.com and Hangzhou disabled persons' Federation conducted a test on the typing speed and understanding of Taobao.com for 175 disabled people who signed up. After passing the test, they can freely participate in the"cloud customer service"training course. Those who pass the exam can become Taobao's "cloud customer service."

Terms and Expressions Taobao 淘宝 Tmall 天猫 Jusuan 聚划算 Yitao 一淘网

References 骆玉兰.网络消费心理及营销策略浅析—以淘宝网“聚人气抢红包”和“淘抢购抢红包”为例[J].经贸实践，2017(7)：154. 陈慧娟.企业网络营销策略研究——以淘宝网店为例[J].经贸实践，2015(6)：242，245. 徐婷，饶媛媛.淘宝网店营销的研究现状[J].时代金融，2017(18)：278. 崔磊.网络营销策略分析——以淘宝网为例进行分析[J].山东纺织经济，2012(1)：39-41. 崔敏杰，付志.基于单身经济的网络营销效应研究——以淘宝网光棍节为例[J].内蒙古电大学刊，2014(1)：5-8. 潘坚.淘宝店营销与推广：策略、方法、技巧与实践[M].北京：清华大学出版社，2014. 梁冰.基于C2C模式的淘宝网营销问题和对策分析[J].安阳工学院学报，2015(7)：240-241. 金雨洁.淘宝网营销策略创新研究[D].大连：大连海事大学，2009. 刘满凤，黎志成.网络营销绩效评价指标体系研究[J].科技进步与对策，2001(8)：15-16. 张昱昭．“双 11”购物节 : 营销传播的策略分析 [D]．南京 : 南京财经大学，2014． 魏珊珊．基于 C2C 模式的淘宝网市场营销策略研究 [D]． 沈阳 : 东北大学，2017． 刘洪峰．基于大数据的淘宝移动端个性化推荐策略优化 研究 [D]．兰州 : 兰州理工大学，2018． 霍晓．试论我国 C2C 网络购物中的网络营销策略及其作 用 [D]．长春 : 东北师范大学，2011． The everything creditor. The Economist. 2015-06-06

Questions 1.When was Taobao founded? 2.What are the influences of Taobao? 3.What are the marketing strategies of Taobao?

Guo Zirui 郭子瑞 - Traditional Craft: Bronze

Chinese bronze ware is representative of Chinese culture and technology in the Xia, Shang, and Zhou dynasties. It has special social status and is the product of a strict hierarchy. [1] Chinese bronze ware first appeared in 5,000 BC and was gradually replaced by ironware in the Han Dynasty. China's Bronze Age spanned about 3,000 years of history. Copper–tin-lead is the main material of bronze alloy.

In the early

The academic world is still exploring when Chinese bronzes originated. One said it was brought by westerners from Xinjiang, such as xiao the Cemetery [2].

In 1973, a round piece of copper was found in the remains of a house at the Yangshao Cultural site in Jiangzhai, Lintong, Shaanxi province. The house has been dated to around 4700 BC by carbon-14. Archaeologists identified the copper as a cast brass, a copper-zinc alloy. The earliest bronze ware unearthed in China is a bronze knife of Majiayao culture unearthed in Linjia, Dongxiang, Gansu province in 1975, which is about 2740 BC [3][4]. During the Xia Dynasty about 2000 BC, China entered the Bronze Age.

The bronze ware of the Xia Dynasty is represented by the bronze ware of Erlitou culture. Erlitou culture is represented by the elite site in Yanshi, Henan province, followed by Longshan culture in time. In elite culture, in addition to bronze tools, weapons, and ornaments, vessels made of bronze also appeared, of which jue was the most important. The bronze jue in Erlitou culture was made by the standard method, with a very thin body and equipped with 鋬 and flow [3].

The shape and ornamentation of early Chinese bronzes have inherited the characteristics of stone tools and pottery of the Neolithic Age. Bronze weapons and tools, most of their shapes from stone tools; The appearance of bronze vessels is mostly from pottery. Tripod, tripod, count, and 斝 all have pottery prototypes. Bronze ornamentation and inscriptions were followed by stone tools and pottery. The pottery unearthed in Longshan culture is mostly decorated with painted patterns, many of which are found in later bronzes, such as cloud thunder patterns and flat dragon patterns. There are various gluttonous patterns on jade articles in Liangzhu culture, which can also be seen on bronzes [3].

In elite culture, the technique of inlaying turquoise on bronzes appeared, and there are devices inlaid with turquoise into cross or taotie patterns in unearthed cultural relics [3].

Shang Dynasty bronze ware

Since the Shang Dynasty, bronze culture has reached its peak. The bronze wares of the Shang dynasty can be roughly divided into two stages: the Erligang period and the Yinxu period, in which The Shang King Pan Geng moved the capital to Yin.

The bronze wares of the Erligang period were mainly found in Erligang of Zhengzhou, Henan province, and Liuli Pavilion of Huixian County, which was connected with elite culture and inherited the characteristics of elite culture bronze wares. Compared with an elite period, the types of bronzes in the Erligang period increased significantly. 1. There are tripods, li vessels, and vessels. There are bowls for food; There are wine utensils, gu, Sir, 斝, corner, respect, 卣, pot, Beijing; Water has a disk, 盉; Weapons are ge, spear, 𨱆, knife, arrowheads; Tools such as ax, adz. Craftsmen of the Erigon period were already able to make large bronzes. The square ding unearthed in Qianjie of Zhangzhai in 1974 is 100 centimeters high and weighs 82.4 kilograms. A similar square tripod was found in Zhengzhou in 1982. In addition, inscriptions have appeared on Oregon bronzes. The earliest inscriptions bronze vessel is a li vessel stored in the Museum of Chinese History.

The bronze ware in Yin Ruins reached the first peak in the history of Chinese bronze ware development. From the Yin ruins as the center to Inner Mongolia and Liaoning in the north to the coast in the east to Gansu and Sichuan in the west, and Guangdong and Guangxi in the south, bronzes matching the characteristics of Yin Ruins have been unearthed. Both in quantity and quality, the bronzes of the Yin Dynasty had a great development, with more varieties and styles, more exquisite workmanship, and more elaborate and gorgeous patterns. The combination method reached a very high level in Yin Dynasty. The bronze system of this period was even larger. The largest single bronze ware discovered so far, the home wu large square ding, was found in Yin Ruins. During the Period of Yin ruins, there appeared not only a large number of bronze ritual vessels, weapons, and tools but also bronze Musical Instruments and chariot and horse implements.

Bronze statues of birds and animals, such as four sheep, an elephant, a pig, and an owl, were popular in the Shang Dynasty. In the Shang Dynasty, bronze plow, bronze plow, bronze plow, bronze plow, bronze rake, bronze saw, and other production tools appeared [5][6], although they were not popular yet. The earliest known bronze inscriptions appeared in the middle of the Shang Dynasty.

Western Zhou Dynasty bronze ware

The zhou people in the early Western Zhou dynasty continued the bronze ware form of the Shang Dynasty and also inherited the taotie patterns popular in Shang Dynasty. "Lu Shi Spring and Autumn · First knowledge overview" also recorded that "Zhou Ding tao, there is nobody, cannibalism did not swallow harm and its body, to report more also". Legend has it that Taotie, the son of the Jinyun family, was extremely greedy for money and food and came to a bad end in the end. He was assisted by Shun to destroy his tribe. [7] In the Shang and Zhou Dynasties, taotie had been regarded as a necessary decorative pattern, reminding people to have a moderate diet and not to become "taotie". The Yun-lei pattern appeared in the middle of the Shang Dynasty but was not popular. After the ritual reform in the middle of the Western Zhou Dynasty and the Spring and Autumn period and the warring States Period, the pattern of Zhou bronzes gradually changed to the Yun-lei pattern. [8] Some western Zhou bronzes also bear inscriptions.

Spring and Autumn period and Warring States period bronze ware

Bronze smelting technology was still developing in the Spring and Autumn Period and the Warring States Period, but it was not as artistic as the previous dynasties, but practical and simple style. In the Shang dynasty and the Western Zhou Dynasty, wine vessels were popular, but in the Spring and Autumn Period and the Warring States period, they had been greatly reduced. Hook and bronze mirrors were representative of the smelting level at that time. The largest number of bronze mirrors were unearthed in Changsha of Chu. The large zenghouyi chime bells and a series of other bronzes unearthed in Zengguo (now Suizhou, Hubei province) reflect the superior smelting technology of the Spring and Autumn Period. In the Qin and Han Dynasties, although bronze ware was still cast in the early stage, it was gradually replaced by early ironware. The smelting technology of copper mirrors continued, but also began to change in materials.

Reference [1]吴来明，周亚. 雄奇宝器：古代青铜铸造术. 西安: 文物出版社. 2008年7月 [2] Ian Morris. 西方憑什麼：五萬年人類大歷史，破解中國落後之謎. : 183 [3] 李学勤. 《青铜器与古代史》. 联经出版社. 2005（再版） [4] 路迪民 王大业. 中国古代冶金与金属文物. 陕西科学技术出版社. 1998: 31 [2022-05-25] [5] 王慧芳. 江西新干县大洋洲出土青铜农具研究[J]. 洛阳理工学院学报：社会科学版, 2016, 31(3):4 [6]陈振中.殷周的青铜锯[J]. 考古, 1984(1):6 [7] 《左传·文公十八年》：缙云氏有不才子，贪于饮食，冒于货贿，侵欲崇侈，不可盈厌，聚敛积实，不知纪极，不分孤寡，不恤穷匮，天下之民以比三凶，谓之饕餮。舜臣尧，宾于四门，流四凶族浑敦、穷奇、梼杌、饕餮，投诸四裔，以御魑魅。 [8] 郭沫若《彝器形象学试探》--Guo Zirui (talk) 14:12, 29 June 2022 (UTC)

Han Jingru 韩静茹 - Entertainment: Deyunshe 德云社

Introduction

https://baike.baidu.com/item/%E5%BE%B7%E4%BA%91%E7%A4%BE/6675997

Deyunshe, originally named as the Beijing Conversation Conference, is one of the biggest Chinese crosstalk organizations and folk art performance groups in China. Established in 1995, Deyunshe has been the common abbreviation of Beijing Deyunshe Culture Communication Company Ltd. since its renaming in 2003. Following its key principle of “lead crosstalk back to the theatre”, in these years, Deyunshe has made important contribution to the inheritance and innovation of Chinese crosstalk, opera, pingshu and other forms of folk art performance.

The Development of Deyunshe

Crosstalk is a kind of intangible cultural heritage with a long history in China. Generally believed to be formed during the Emperor Xianfeng(1850-1861) and Emperor Tongzhi(1861-1874) period in Qing dynasty, the crosstalk art once almost disappeared but has been reborn and developed very rapidly especially since the founding of the People’s Republic of China. However, up to 1990s, crosstalk industry was locked into outmoded adversity again because of the newborn ways of entertainment, the decay of radios, and the obsolescence of the crosstalk content itself, etc. In 1995, crosstalk artists Guo Degang, Li Jing and Zhang Wenshun established the Beijing Conversation Conference and began to perform at Guangde Building, Workers Club, Zhonghe Theatre and other tea houses or small-scale theaters. In 2003, the Beijing Conversation Conference changed its name to Deyunshe. In October 2004, Kaixin Chuaguan (Pleasant Teahouse), a programme of Beijing Joy FM, began to broadcast the live recordings of Deyunshe, showing a new performance form that differs from the traditional crosstalk at gala evenings. In 2010, Deyunshe changed its management methods into corporate governance, and made labor contract with all the artists. In July 2011, Deyunshe inaugurated a new form in the Beizhan Theatre, by using the dialects operas and comic dialogues to interpret crosstalk of various styles from the Qing dynasty to the Republic of China. In April 2013, the first branch of the Chinese crosstalk club, the Deyunshe Melbourne Branch, was established. On 17 July, 2014, Deyunshe started to call for the anti-vulgarity campaign to purify the crosstalk performance. After years of hard work, Deyunshe has come a long way in the resistance of the vulgarity, kitsch and low-brow content by destroying the decay and establishing the fresh. In June 2020, Deyunshe made a contract with Qilu University of Technology, planning to cooperatively build the Deyun College. Since the establishment of Deyunshe in 1995, Guo Degang and his apprentices always hold some principles to inherit and innovate traditional Chinese crosstalk. For example, they believe crosstalk is essentially a kind of entertainment instead of a way of preaching, and it must appeal to all ages and social groups and root in small-scale theaters where artists can truly interact with audiences and hear the direct feedback voices. In a certain degree, it is the appearance of Guo Degang and his Deyunshe that draws a blueprint for the future development and breathes new life into crosstalk industry. By 2022, Deyunshe has established many branches at home and abroad, including Beijing, Tianjin, Harbin, Changchun, Nanjing and Melbourne. As the headquarters of Deyunshe, Beijing Deyunshe is comprised of Tianqiao Theater, the birthplace of Beijing-style folk art, Sanlitun Theater, Sanqingyuan Theater, Xinjiekou Theater, Guangdelou Theater and Huguang Guild Hall Theater.

The Mentorship-system of Deyunshe

https://www.bilibili.com/read/mobile?id=379863

Up to now, Deyunshe still follows the mentorship-system of traditional Chinese opera and folk art industries and only accepts male apprentices. Most members or artists of Deyunshe are Guo Degang’s and his partner Yu Qian’s apprentices. Following the rank of “Yun, He, Jiu, Xiao, Long, Teng, Si, Hai” (Cloud, Crane, Nine, Sky, Dragon, Jump, Four, Sea)，every apprentice of Guo Degang will get a stage name after a formal ceremony of being admitted by Guo as his student after years of study. During the period of learning crosstalk, apprentices do not need to give any tuition to their masters. When eating or shopping together, junior students even do not need to pay their own bills if there are any other seniors. At the same time, apprentices of Deyunshe have to abide by the rules of the club, for example, obeying their masters’ instruction, respecting seniors and other counterparts, visiting their masters personally during the “Three Festivals and Two Birthdays”(the Dragon Boat Festival, the Mid-Autumn Festival, the Spring Festival, the birthday of Confucius and the birthday of their masters), paying attention to self-cultivation, learning the skills assiduously, and abstaining from gambling, prostitution and other illegal acts, etc. If any apprentice violates the regulations, his master will deprive his stage name and dismiss him.

The Fandom Culture and Deyunshe

In recent years, Deyunshe has gained an increasingly larger fan base, and the fandom culture has dramatically influenced the development of Deyunshe. More crosstalk artists of Deyunshe are now regarded as celebrities and even idols. This is an unprecedented event in the history of crosstalk industry. On the one hand, the fandom culture does stimulate Deyunshe’s reformation and innovation. On the other hand, the complexity and pluralism of fans put much more pressure on artists. Sometimes the fans’ behavior such as trolling and invading comment areas and so on will cause heated controversies and damage the artists’ images. To thank for the fans’ support, Deyunshe holds a special performance, called the “Festival of Gang’s Fans” every September since 2010. Zhang Yunlei, one of Guo Degang’s apprentices, nowadays has enjoyed phenomenal popularity and been called “the Artist of Taiping Lyrics” of post-1990s generation because of his mellifluous and sensational voice, handsome looks and incredible life experience. Guo Degang, Zhang Yunlei, Yue Yunpeng, Meng Hetang, Qin Xiaoxian and other crosstalk artists use their own influence and the power of fans to promote the spread and productive protection of crosstalk and other forms of traditional Chinese folk arts. For example, in many of Zhang’s crosstalk performances, thousands of fans chorused traditional Taiping Lyrics, opera lyrics and songs to echo and support him. In addition, during the “Cultural and Natural Heritage Day” in 2019, the social platform of Weibo invited some artists of Deyunshe, including Zhang Yunlei, Tao Yunsheng, Zhang Helun, Meng Hetang, and Zhou Jiuliang, to join a series of activities associated with the inheritance and development of intangible cultural heritage and disseminate crosstalk, pingshu, pingju (a local opera of north and northeast China), Beijing Opera, jinyun dagu (story- telling in Beijing dialect with drum accompaniment) and so on to broader audience and receivers of traditional Chinese culture.

Representative Artists of Deyunshe

https://m.baidu.com/sf/vsearch?pd=image_content&word=%E9%83%AD%E5%BE%B7%E7%BA%B2%20%E5%86%99%E7%9C%9F&tn=vsearch&sa=vs_kg_star_toppic&ms=1&from=1001192y&atn=page&fr=tab

Guo Degang, a famous Chinese crosstalk artist and the founder of Deyunshe, was born in Tianjin in 1973. He began to learn crosstalk, Beijing Opera, pingshu and so on at the age of 8, following his master, Hou Yaowen, a respected Chinese crosstalk artist. The New York Times described Guo as “the Chinese Ricky Gervais” in 2011, and said, “He is a comedian who specializes in a traditional form of performance comedy called crosstalk that has undergone a revival recently, largely because of Mr. Guo’s antics. Chinese media have dubbed him ‘the savior of cross talk’ for attracting young and middle-aged audience members to the aging crosstalk crowd.” As one of the the eighth-generation crosstalk performers, Guo Degang tries his best to appeal younger audiences by weeding out the didactic and stale contents and adding fresh contents that conform to the spirit of the age and are much closer to modern life. Based on tradition, he creates many new crosstalk works, including “Yang Naiwu Writes Indictment”, “The Bodyguard”, “Sell Opera Tickets”, and “I want to be on the Spring Festival Gala Evening”, etc. Yu Qian, the fixed partner of Guo Degang and an apprentice of Chinese crosstalk master Shi Fukuan, is an expert at interacting with audiences and performing “Xiangua” (improvise on jokes in crosstalk). His acting style is cultured and leisurely, differing from but matching with Guo Degang’s lively and theatrical style.

https://m.baidu.com/sf/vsearch?pd=image_content&word=%E5%B2%B3%E4%BA%91%E9%B9%8F%20%E5%86%99%E7%9C%9F&tn=vsearch&sa=vs_kg_star_toppic&ms=1&from=1001192y&atn=page&fr=tab

Yue Yunpeng, an apprentice of Guo Degang, mainly performs crosstalk as “Dougen” (the lead actor) with his fixed partner Sun Yue. As an old friend of all different gala evenings and a representative of new-generation crosstalk artist, Yue performed crosstalk at CCTV’s Spring Festival Gala for five times. His crosstalk works are always related to social reality, using a humorous way to criticize and roast the hypocrisy and seamy side of today’s society.

Different Ranks of Deyunshe Members

The rank of “wen” (culture): Xie Jin

The rank of “ming” (bright): Guo Degang, Yu Qian, Gao Feng, Sun Yue, Liu Zhe, Wang Shaoli, Shi Aidong, Liu Chunshan, Yang Jinming, Hou Zhen, Zhang Deyan, Zheng Hao

The rank of “yun” (cloud): Zhang Yunlei, Kong Yunlong, Luan Yunping, Yu Yunting, Zhu Yunfeng, Yue Yunpeng, Ning Yunxiang, Li Yunjie, Zhao Yunxia, Li Yuntian, Tao Yunsheng, Zhang Yunfan, Yu Yuntian

The rank of “he” (crane): Cao Heyang, Liu Hexiang, Yan Hexiang, Li Helin, Li Hebiao, Liu Heying, Zhang Helun, Gao Hecai, Zhang Hejun, Ji Hewu, Wu Hechen, Meng Hetang, Ynag Hetong, Liang Hekun, Zhong Hexuan, Ma Heqi, Zhang Hefeng, Yu Hezhen, Liu Heqing, Zhang Hewen, Sun Hebao, Yang Heling, Zhang Hefan, Qi Hetao, Lang Heyan, Guan Hebai, Wang Hejiang, Gao Hepeng, Liu Helong, Li Hedong, Zhang Hejian, Jin Henian, Fang Hedi, Jin Helan, Zhu Hesong, Luan Hehua, Zhang Heluan, Li Hepu, Zhang Heqing, Liu Hean, Huang Hefei, Pi Hean, Xing Hewei, liu Hedan

The rank of “jiu” (nine): Zhang Jiuling, Li Jiuchun, Zhou Jiuliang, Yang Jiulang, Zhang Jiuchi, Gao Jiucheng, Wang Jiulong, Zhang Jiunan, He Jiuhua, Zheng Jiulian, Li Jiujiang, Sun Jiuxiang, Liu Jiuren, Guan Jiuhai, Shang Jiuxi, Li Jiuchong, Liu Jiuru, Liu Jiusi, Chen Jiufu, Chen Jiupin, Ni Jiutao, Dong Jiuli, Li Jiutian, Chen Jiutong, Cao Jiutai, Zhang Jiutai, Han Jiuming, Dong Jiuhan, Zhang Jiulin, Mei Jiuliang, Sun Jiufang, Ji Jiuxiao, Ma Jiumeng, Yin Jiuyan, Shen Jiuping, Liu Jiuhui

The rank of “xiao” (sky): Zhang Xiaobai, Wang Xiaoyi, Qin Xiaoxian, Fan Xiaoqi, Fan Xiaotang, E Xiaoxiong, Zhao Xiaoyuan, Wang Xiaohan, Zhang Xiaomo, Yang Xiaofeng, Xiao Xiaoyu, Kang Xiaozhe, Wang Xiaoxiu, Yang Xiaohong, Li Xiaoqiao, Sun Xiaoyao, Ge Xiaoqing, Wu Xiaoze, Wang Xiaokai, Ma Xiaosheng, Ma Xiaorong, Dong Xiaoye, Li Xiaohang, Gao Xiaofei, Ji Xiaotong, Chiwei Xiaotang, Dong Xiaoyuan, Zhang Xiaoting, Liu Xiaohang, Guo Xiaohan, Yang Xiaotai

The rank of “xiao” (bamboo)(apprentices of the rank of “yun”): Shang Xiaoju, Liu Xiaoting, Gao Xiaobei, Gao Xiaobao, Xu Xiaozhu, Li Xiaokui, Hou Xiaolou, Guo Xiaoqiao, Wang Xiaoge, Yu Xiaohuai

Apprentices of Yu Qian: Guo Qinlin, Feng Zhaoyang, Li Siming, Tai Rongjian, Guo Fenyang, Wu Suowei, Xiaolong

Apprentices of Sun Yue: Lu Shuo, Sun Zizhao, Li Shijin

Apprentices of Gao Feng: Lang Haochen, Miao Haoyu, Song Haoran, Wang Haoyue, Li Haoyang

Apprentices of Hou Zhen: Zhuang Zijian, Gao Lei, Hong Chen, Zhang Guotang

Terms

Deyunshe 德云社

Beijing Conversation Conference 北京相声大会

Cloud, Crane, Nine, Sky, Dragon, Jump, Four, Sea 云鹤九霄，龙腾四海

Three Festivals and Two Birthdays (the Dragon Boat Festival, the Mid-Autumn Festival, the Spring Festival, the birthday of Confucius and the birthday of their masters) 三节两寿（端午节、中秋节、春节、孔子诞辰以及师父寿辰）

Festival of Gang’s Fans 钢丝节

Taiping Lyrics 太平歌词

Cultural and Natural Heritage Day 文化和自然遗产日

Jinyun dagu 京韵大鼓

Yang Naiwu Writes Indictment《杨乃武写状》

The Bodyguard 《大保镖》

Sell Opera Tickets 《卖吊票》

Xiangua 现挂

Dougen 逗哏

Reference

1.Hou Baolin, Xue Baokun 侯宝林, 薛宝坤. 《相声溯源》[The Origin of Crosstalk]. 人民教育出版社 People’s Literature Publishing House, 1983:1-13.

2.Xiang Shi 向适. 论相声传统的继承与发展[On the Inheritance and Development of the Crosstalk Tradition]. 湖南第一师范学报 Journal of Hunan First Normal College, 2008(03):155-157.

3.You Hongxia, Tian Zhaoyuan 游红霞, 田兆元. 粉丝文化背景下非物质文化遗产的传承发展——以德云社相声为例[Inheritance and Development of Intangible Cultural Heritage under the Background of Fans Culture—Taking Deyunshe Crosstalk as an Example]. 湖北民族大学学报 Hubei Minzu University Journal, 2020(03):146-152.

4.Wikipedia 维基百科. Deyunshe 德云社 https://en.m.wikipedia.org/wiki/Deyunshe

5.Benjamin Haas. “Who’s on First?” Finds a Home in Chinese Clubs. The New York Times, 2011.3.2 https://www.nytimes.com/2011/03/03/world/asia/03beijing.html

Questions

1.What is the original name of Deyunshe?

2.What is the key principle of Deyunshe?

3.Who established the Beijing Conversation Conference?

4.What is the first oversea branch of the Chinese crosstalk club?

5.How The New York Times described Guo Degang?

Answers

1.the Beijing Conversation Conference

2.“lead crosstalk back to the theatre”

3.Guo Degang, Li Jing and Zhang Wenshun

4.the Deyunshe Melbourne Branch

5.The New York Times described Guo as “the Chinese Ricky Gervais”, and said, “He is a comedian who specializes in a traditional form of performance comedy called crosstalk that has undergone a revival recently, largely because of Mr. Guo’s antics. Chinese media have dubbed him ‘the savior of cross talk’ for attracting young and middle-aged audience members to the aging crosstalk crowd.”

He Minghui 何明慧 - Traditional Cuisine: Jiaozi

1.Introduction

Jiaozi are Chinese dumplings commonly eaten in China and other parts of East Asia. Jiaozi are folded to resemble Chinese sycee（元宝） and have great cultural significance attached to them within China. Jiaozi are one of the major dishes eaten during the Chinese New Year throughout Northern China and eaten all year round in the northern provinces. Though considered part of Chinese cuisine, jiaozi are popular in other parts of East Asia and in the Western world, where a fried variety is sometimes called potsticker in North America and Chinese dumplings in the UK. The English-language term "potsticker" is a calque of the Mandarin word "guotie" (锅贴). Potsticker was used by Buwei Yang Chao and her husband Yuen Ren Chao in the book How to Cook and Eat in Chinese, which was first published in 1945. In northern China, however, "guotie" specifically refers to a type of pan-fried jiaozi with its ends left open rather than just any pan-fried jiaozi. Jiaozi typically consist of a ground meat and/or vegetable filling wrapped into a thinly rolled piece of dough, which is then sealed by pressing the edges together. Finished jiaozi can be boiled, steamed, pan fried, or deep fried, and are traditionally served with a black vinegar and sesame oil dip. They can also be served in a soup.

2.Origin and custom

In China, there are several different folk stories explaining the origin of jiaozi and its name.Traditionally, jiaozi was thought to be invented during the era of the Eastern Han (AD 25–220)[1][2] by Zhang Zhongjing[3] who was a great practitioner of traditional Chinese medicine. Jiaozi was originally referred to as "tender ears" (Chinese: 娇耳) because they were used to treat frostbitten ears. Zhang Zhongjing was on his way home during wintertime, when he found many common people had frostbitten ears, because they did not have warm clothes and sufficient food. He treated these poor people by stewing lamb, black pepper, and some warming medicines in a pot, chopped them, and used them to fill small dough wrappers. He boiled these dumplings and gave them with the broth to his patients, until the coming of the Chinese New Year. In order to celebrate the New Year as well as recovering from frostbitten ears, people imitated Zhang's recipe to make Jiao'er.[4]

Other theories suggest that jiaozi may have derived from dumplings in Western Asia. In the Western Han dynasty (206 BC – AD 9) jiaozi (饺子) were called jiaozi (角子). During the Three Kingdoms period (AD 220–280), the book Guangya by Zhang Yi mentions jiaozi. Yan Zhitui during the Northern Qi dynasty (AD 550–577) wrote: "Today the jiaozi, shaped like a crescent moon, is a common food in the world." Six Dynasties Turfan tombs contained dumplings.[5] Later in the Tang dynasty (AD 618–907), jiaozi become more popular, called Bian Shi (扁食). Chinese archaeologists have found a bowl of jiaozi in the Tang dynasty tombs in Turpan.[6] 7th or 8th century dumplings and wontons were found in Turfan.[7]

Jiaozi may also be named because they are horn-shaped. The Chinese word for "horn" is jiao (角), and jiaozi was originally written with the Chinese character for "horn", but later it was replaced by the specific character “饺”, which has the food radical on the left and the phonetic component jiāo (交) on the right.[8]

jiaozi look like yuan bao silver or gold ingots used as currency during the Ming dynasty, and as the name sounds like the word for the earliest paper money, serving them is believed to bring prosperity.[9] Many families eat these at midnight on Chinese New Year's Eve. Some cooks will even hide a clean coin inside a jiaozi for the lucky to find.[10]

3.Types of jiaozi

Jiaozi may be divided into various types : Boiled dumplings (水饺) Steamed dumplings (蒸饺) Pan-fried dumplings (煎饺) Deep fried dumplings (炸饺) Soup dumplings (汤饺) egg dumpling (蛋饺)

4.Fillings of dumplings

Common dumpling meat fillings include chicken, pork, beef, shrimp, and fish which are usually mixed with chopped vegetables. Popular vegetable fillings include napa cabbage, scallion (spring onions), celery, leek, spinach, mushroom, carrot, garlic chives, and edible black fungus.

5.Folding techniques of jiaozi

There are many ways to fold jiaozi. Basically, steps for folding the skin includes putting a single pleat in the middle, putting multiple pleats along the edge, making a wavy edge like a pie crust, turning a pleated edge in toward the body resulting in a rounded edge, and putting both ends together resulting in a round shape.[citation needed] Different shapes of Jiaozi require different folding techniques, but the most famous and common technique is the pinched-edge fold.[11] Take a wrapper and put one tablespoon of filling into the center of the wrapper. Fold a half of edge to the other half. Use left thumb and forefinger to pinch one side of the half-moon wrapper, and then use right thumb to push the inside skin outward, right forefinger to make outside skin into small pleats. Use right thumb to clench those pleats. Repeat these steps to the other side of the wrapper, and make sure to clench the seal of Jiaozi.[12] This is crescent-shaped jiaozi, the most popular shape in China.

6.Variations of jiaozi

Guangdong Jiaozi is called gaau ji in Cantonese and are standard fare in Guangdong style dim sum. The immediate noted difference to Northern style is that they are smaller and wrapped in a thinner translucent skin, and usually steamed. The smaller size and the thinner wrapper make the dumplings easier to cook through with steaming. In contrast to jiaozi, Guangdong gaau ji are rarely home-made because the wrapper, which needs to be thin but tough enough to not break, is more difficult to make. Many types of fillings exist, with the most common type being har gow (虾饺), but fillings can include scallop, chicken, tofu, and mixed vegetables; dim sum restaurants often feature their own house specials or innovations. Dim sum chefs and artists often use ingredients in new or creative ways, or draw inspiration from other Chinese culinary traditions, such as Chaozhou, Hakka, or Shanghai. More creative chefs may even create fusion gaau ji by using elements from other cultures, such as Japanese (teriyaki) or Southeast Asian (satay or curry), while upscale restaurants may use expensive or exotic ingredients such as lobster, shark fin and bird's nest.

Another Cantonese dumpling is yau gok (油角), which are made with glutinous rice dough and deep fried.

Guotie Guotie (锅贴) are a northern Chinese style dumpling popular as a street food, appetizer, or side order in Chinese cuisine. Guotie differs from pan fried dumplings, or jianjiao, in that the shape of guotie is usually elongated and the two ends are often left open. Guotie is sometimes served on a dim sum menu, but may be offered independently. The filling for both guotie and jianjiao usually contains pork (sometimes chicken, or beef in Muslim areas), cabbage, scallions, ginger, Chinese rice wine or cooking wine, and sesame seed oil. In southern China, the term "guotie" is often used as a synonym for the typical jianjiao rather than referring to a particular variety of it.

Gyōza The Japanese word gyōza was derived from the Jilu Mandarin reading of“饺子”, giǎoze, and the Japanese word is often written using the same Chinese characters. Following the Second World War, Japanese soldiers returning from the Japanese-backed puppet state of Manchukuo（满洲国） in northeastern China brought home gyōza recipes.

The prevalent differences between Japanese-style gyōza and Chinese-style jiaozi are the rich garlic flavor, which is less noticeable in the Chinese version, and that gyōza wrappers tend to be thinner, due to the fact that most Japanese restaurants use machine-made wrappers. In contrast, the rustic cuisine of poor Chinese immigrants shaped westerners' views that Chinese restaurant jiaozi use thicker handmade wrappers. As jiaozi vary greatly across regions within China, these differences are not as clear in the country of origin. For example, visitors will easily find thin-skinned jiaozi at restaurants in Shanghai and at street food vendors in the Hangzhou region. Gyōza wrappers are actually identical to jiaozi wrappers seen in Chinese households using store-bought machine-made wrappers. Gyōza are usually served with soy-based tare sauce seasoned with rice vinegar and/or chili oil (rāyu in Japanese, làyóu (辣油) in Mandarin Chinese). The most common recipe is a mixture of minced pork (sometimes chicken or beef), cabbage, Asian chives, and sesame oil, and/or garlic, and/or ginger, which is then wrapped in the thinly rolled dough skins. Gyoza share similarities with both pierogi and spring rolls and are cooked in the same fashion as pierogi, either boiled or fried.

The most popular preparation method is the pan-fried style called yaki-gyōza, in which the dumpling is first fried on one flat side, creating a crispy skin. Then, water is added and the pan sealed with a lid, until the upper part of the dumpling is steamed. This technique is what the Chinese call guotie or potstickers (see above). Other popular methods include boiling sui-gyōza and deep frying age-gyōza.

Momo The Tibetan and Nepalese version is known as momo. The word "momo" comes from a Chinese loanword, "momo" ,[13] which translates to "steamed bread". When preparing momo, flour is filled, most commonly with ground water buffalo meat. Often, ground lamb or chicken meat is used as alternate to water buffalo meat. In Nepal there is also a vegetarian option where mixtures of potato, cheese and other vegetable items are mixed. Finely chopped onion, minced garlic, fresh minced ginger, cumin powder, salt, coriander/cilantro, etc. are added to the meat for flavouring. A sauce made from cooked tomatoes flavored with Sichuan pepper and minced red chilies is often served along with momo.

The Nepalese momo is usually served with dipping sauces that include tomato based chutneys or sesame based sauces. Sauces can be thick or thin consistency depending on the eatery (locally called chutney/achhar[14]), that is normally made with tomato as the base ingredient. In Kathmandu valley, the traditional way of serving momo (momocha) is 10 ping-pong ball sized round momo drowned in a tangy, tomatoey and nutty broth or sauce called Jhol (watery soup / broth in Nepali) achar (served at room temperature, with watery / runny consistency, also known as Kathmandu style momo). Jhol momo has a warm or hot broth poured over momo (not cooked in the soup / broth).[15] To make the jhol achar one of the main ingredients is Nepali Hog Plum (Lapsi), but if unavailable, lemon or lime juice can be used.

Reference

[1] “Frozen ears: The story of guozas”. The Malay Mailthe origin of Jiaozi". [2]“Seeking XLB". The Austin Chronicl. [3] "The origin of jiaozi”. people.com.cn.Retrieved 2002-02-07.

[4]你知道冬至为什么吃饺子吗? 医圣张仲景发明". 人民网. 人民网. 23 December 2015.

[5]“Archaeologists Discover Ancient Dumplings in China". 16 February 2016.

[6] "Dumplings served 1,700 years ago in XinjiangDumplings served 1,700 years ago in Xinjiang". China Daily. Xinhua. Retrieved 24 January 2022.

[7] Hansen 2012, p. 11.

[8]Norman, Jerry (1988) Chinese, Cambridge University Press, pp. 76–77.

[9]"Steamed pork dumplings". Graceful Cuisine. 19 January 2012. Retrieved 6 May 2012.

[10]Simonds, Nina (25 January 1995). "Dumplings, for a Lucky Year of the Pig". New York Times.

[11]Yarvin, Brian (2007). A World of Dumplings. New York: The Countryman Press. Woodstock, Vermont. p. 50. ISBN 9780881507201.

[12] "饺子的N种时尚新奇包法". 百度经验. 31 December 2012.

[13] Jīn Péng 金鹏 (ed.): Zàngyǔ jiǎnzhì 藏语简志. Mínzú chūbǎnshè 民族出版社, Beijing 1983, p. 31.

[14] Williams, James. "Momos Chutney Recipe". ReciPickr.com.

[15]"Anup's Kitchen | Traditional recipes, without shortcuts". Retrieved 2021-09-26.

［16］维基百科

Terms

Boiled dumplings 水饺

Steamed dumplings 蒸饺

Pan-fried dumplings 煎饺

Deep fried dumplings 炸饺

Soup dumplings汤饺

egg dumpling蛋饺

Nepali Hog Plum南酸枣；尼泊尔猪梅

jhol achar 将馍馍蒸熟后放入充满汤汁的碗里，汤称为jhol achar

momo尼泊尔饺子

Question

1.What shape are the dumplings folded into?

2.In traditional cognition, who invented jiaozi? Why he invented it?

3.How many types of dumplings are there?

4.How many variations of dumplings are there?

5.Do you like eat jiaozi?

Answers

1.Sycee.

2.Zhang Zhongjin. To cure patents.

3.6.

4.3.

5.Yes/no.

Lei Heng 雷珩 - Aesthetic ideals and social customs: the Photo Retouching Culture in China

Introduction

Traditionally, photo retouching is a way of eliminating or covering flaws on the pictures by using brushes and pigments. Contemporarily, with the rapid development of science, the conception photo retouching has been coverted into a technology of editing pictures by adjusting image parameters. The ultimate goal behind this action is to modify pictures for the sake of beauty.

The development of photo retouching in China

In ancient China,photo retouching mainly exists in portraiture. Bereft of advanced devices, ancient Chineses have to rely on drawing as the only method for taking photos, among which portraiture is a significant genre which vividly portrays human images. But due to the extravagant payment of hiring a portrait painter, ordinary people who have difficulties in making ends meet would not take it into consideration, causing portraiture exclusive for upper classes and the imperial. To highlight their greatness and elegance, painters tend to refine owners’ flaws or amplify their beauty in an exaggerate way. From this aspect, a set of rules are settled for imperial portraiture, which are modification（美化）and sanctification（神化）. This is the primitive photo retouching. Famous portait painters includes Gu Kaizhi（顾恺之）in the Jin Dynasty and Yan Liben（阎立本）in the Tang Dynasty.
In the digital age, thanks for the advent of AdobePhotoshop photoretouching bears its new meaning. Photo retouching is almost tantamount to the action of PS. But Photoshop photo is so professional and China enjoys such a large population that this software doesn’t spread so widely as expected. However, another APP made its appearance in China’s market in 2008 and stormed the market, which is Meitu. Meitu, also called Meitu Xiuxiu（美图秀秀），is an image software tool, with image effects, jigsaw and other functions, an APP which is the substitute for Photoshop. It is easier and more convinient for people to operate, thus starting the upsurge of photoediting in China. When it comes to photo editing, nearly every citizen think about Meitu without hesitation. This is how it works: adjust the picture parameters and adjust the portrait picture according to individual needs to meet the aesthetic taste of the image maker. Through the software, selfiers can remove freckle, whiten, thin face and even adjust facial features of a portrait in an ordinary image, so as to make it more in line with the public aesthetic, or to stylize the presentation. Other APPs likeLight Colour Camera（轻颜相机）,Butter Camera（黄油相机）are also popular among Chineses.
The Photo Retouching Technology in China enjoys greay popularity in the eastern continent, and it is regarded as one of the four witchcrafts of the East.（other three are Cosmetic Surgery in Korea, Transsexual Operation in Thailand and Extreme Makeup in Japan.）

The influence of photo retouching in China

In today’s age of social media, picture image palys an important role in expressing themselves on the Internet. People build their self-image by posting photos or displaying images that represent their personal lives and tastes. In order to post more exquisite and beautiful pictures on the social platforms, people resort to photo retouching. Although China has not built an independent picture community as Instagram does, pictures social still has become one of the basic ways of socializing in China. Landscape pictures and selfies are constantly posted on Sina Weibo, Wechat Moments and other social platforms. However, the edited photos incur a great deal of controversies.

On the bright side

The purpose of mostpeople’s photoshop is to record their lives, not to deceive others or deceive themselves. Theeditedpicture is also artistic, keeping the beautiful moment and making the memory look more vivid. In the process ofretouching when theyfocus onthemselves, through the change of light and filter, people can find their own beauty,andthe unconfident people can findtheir own bright spots, thereby rediscoveringthemselves and becoming confident. This kind of confidence is in a sense related to psychological reconstruction. It can be perceived as a pursuit for beauty.Instead of pointing fingers, we can see this as an opportunity to rediscover ourselves.And sometimes when we take photos, the background is too messy to clean up, photoshoping the picture is a more decent action.At the same time, when we observe the surrounding scenery, we tend tohold subjective emotions, while the camera simply records the scenery under that light condition. By adding filters and other ways to modify the picture,we can make the picture closer to the scenery in the eyes of the state of mind at that time. We can share with our friends the world in our eyes by posting such photoshopped photos to our moments, which are also closer to our hearts. In this era of“appearance level is justice”, in order to meet the public aesthetic, many people have body anxiety, not through health, diet, cosmetic surgery and other time-consuming and exhausting ways, but in the digital space only through beauty, filter and other ways, they can make the personal image in the selfie conform to the“body aesthetic standard” in the public mind, which satisfies people's desire to become beautiful quickly.
Photo retouching also comes into play in commercial field. Many advertisements, especially skin care products, use retouched images like fair skin, no wrinkle surface, and pimple-free face, to underscore the effect of their products, attracting consumers to buy them. 

On the negative side

However, overtouching can backfire. In recent years, the news of "netizens seeing light death"（“见光死”a term used to refer the phenomenon that netizens retouch their selfies so ridiculously that once they show up in reality, they cannot fake it anymore. Another term which also constantly heard is“照骗”. In Chinese,“照骗”and“照片”both pronounce“zhaopian”. The former means fraud useing fake photoes and the later means photos.）is constantly heard. The huge contrast brought by excessive photoediting will make others feel unreal, and then doubt his integrity and character. There are many kinds of photo-retouching software installed in the mobile phone, and substantial time is spent in repairing the picture, so that people are immersed in illusory beauty and praise, which will lead to the confusion of self-cognition and lose themselves over time. According to the news report, most teenagers in China have facial anxiety. They spend a great amount of energy in retouching just to present a good self-image to the outside world. But photoediting is fake after all. It's better to spend the time on improving their ability, such as reading books and exercising. At the same time, people should have the ability to accept themselves, to embrace their imperfections, not deliberately cover it up. Excessive retouching is also the epitome of a fast and impetuous society, reflecting distorted aesthetics. Social rhythm is short in which people come and go in a hurry, no time to deeply know others. A beautiful face is a bright name card, leaving amazing attention.

In conclusion

When people struggle to cope with "one minute of phototaking, two hours of photoshopping", when they are conditioned to look the same in a bid to appeal to the mass aesthetic, and when they resent the distorted "beauty images" promoted on social media, it is timefor usto reflect. As a tool to discover and create beauty, retouching software has been endowed with functions closely related to beauty since its appearance, which is not a problem. But we need to think about afact -- the negative controversyof retouchingiscaused by the current standard of “beauty” whcih is too simple.

Terms and Expressions portraiture肖像画 sanctification神化 Gu Kaizhi顾恺之 Yan Liben阎立本 Meitu美图秀秀 Light Colour Camera轻颜相机 Butter Camera黄油相机 Transsexual operation变性手术 Extreme makeup化妆术

References 1.Yuan Ziqi 袁紫琪. 美图秀秀平台社交化转型探析[The Reacher on the Social Platform Transformation of MeituPic]. 湖南大学，2020.4.10

2.Fan Xing 樊星. 修图——一种技术手段和表达方式. 中央美术学院，2013.6

3.热衷于修图发朋友圈,是好事还是坏事[J]. 夏堇. 中学生天地（B版）. 2021(12)

4.对朋友圈修图艺术的日常欣赏[J]. 赵瑜佩. 中学生天地（B版）. 2021(12)

5.修图如饮酒[J]. 斯涵涵. 检察风云. 2017(13)

Questions

1.What are the main three photo retouching APPs in China? 2.What is the purpose of merchants retouching pictures? 3.What are the four witchcrafts of the East?

Answers 1.Meitu Xiuxiu, Light Colour Camera and Butter Camera. 2.To underscore the effect of their products and to attract consumers to buy them. 3.The Photo Retouching Technology in China，Cosmetic Surgery in Korea, Transsexual Operation in Thailand and Extreme Makeup in Japan.