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https://bou.de/u/wiki/User:Zhou_Qingyi#Final_Paper 锔瓷Chinese Ceramic Mending

ZhouQingyi 周青宜 202330092318

Chinese Ceramic Repairing

Abstract

Chinese ceramic repairing is an ancient ceramic restoration techniques, can be broken ceramic repair, restoration, re-creation, so that the mutilation into a more complete beauty. This paper mainly introduces the history, process and cultural connotation of chinese ceramic repairng.

Historical development

Chinese ceramic repairing in the official history of the lack of clear records, the specific time of origin can not be examined, the idea of drilling and sawing in the Neolithic era or has been, according to modern archaeological excavations can be seen in the Majiayao culture, Yangshao culture, and other sites of the unearthed pottery, has been found in the traces of drilling repair, into the historical period, cadmium ceramic in the Tang, Song, and Yuan dynasties have a small number of archaeological discoveries, the Yuan dynasty has been in the literature A clear record of ceramic restoration. Ming Dynasty, Li Shizhen in his "Compendium of Materia Medica" wrote: "Its sand can drill jade to mend ceramic, so it is called drill." (Li Shizhen, 1593) which mentioned the "drill" is referred to as "diamond drill", drilling jade and ceramic is that the diamond drill can be used in jade, ceramic holes cadmium fill, diamond drill is one of the main tools in the copper ceramics technology, there is a well known saying called "no diamond, do not take the work of the ceramic," is derived from the feeding of the ceramic this line of work. Japanese Confucian scholar Ito east end of the book “leech trip tea ou record” (Ito, Tōgai, 1935) a book, recorded a famous copper, the name leech trip tea ou. (Zhou, Haoran, Wang, Hongquan, Lv, Jian, 2023).

Process

repairing ceramic process tools used for the transfer of nails and diamond, as two essential tools in the copper ceramic process, in the copper ceramic process practice has a very important role, repairing nails and diamond drill in the application of ceramic process to understand the principle of actually easier. First of all, diamond as a diamond drill bit, hardness is very strong, the relevant restorers can use the diamond drill to complete the repair of ceramic drilling, in the actual drilling operations, restorers can play a positive role in the rod and leather rope to effectively realize the diamond drill to be repaired in the ceramic surface of the specific location of the high-speed rotation, so as to achieve the ceramic billet drilling, special attention needs to be paid to the relevant restoration of the relevant people To strictly control the actual effect of the hole, not only to effectively avoid the hole is too deep and lead to the blank penetration, but also can not make the hole is too shallow, so as not to be conducive to the later on the Mei-Nail nail foot fixation, so the ceramic to be repaired by drilling need to make sure that the relevant holes can produce a certain degree of inward tendency, so that on this basis for the wrong nails on the basis of the subsequent operation of the foundation laid". In the current stage of development of diamond drill has been gradually replaced by dental drill. Secondly, repairing nail is a flat straight metal tools, in the application of repairing ceramic process related to the restorers need to copper nails for the corresponding treatment, that is, it is necessary to bend its sides, the part of the bending is the foot of the nails mentioned above, need to pay attention to is that the foot of the nails need to have a certain degree of inward angle, in order to better apply to the repairing ceramic two arts, for the subsequent on the nails to be ready for the operation. (Feng Chao, Wei Jieyu, 2022)

The first step is to find ballast, the seam, so that the broken ceramic to restore the original state, this process can not let go of any subtle punch line or crack, and then repair. Even if it seems to be a tight fit, but to do not leak is not an easy task.

The second step is to locate the point mark. repairing ceramic craftsmen according to the artifact shape and ornamentation as well as the position of the tension, location, to determine the shape of the copper nail, the number and optimal location.

The third step of is in line with the size of the copper nail foot diamond drill holes. Drilling can not slip, to master the depth of drilling, a little carelessness will break the ceramic.

The fourth step is repairing nail, repairing nail production reflects the level of craftsmen. The production of a repairing nail takes about 15 minutes of hammering and polishing, repairing nail toughness and the level of production of repairing nails determines the service life of the repairing mending vessels. In order to prevent ceramic leakage, the last but also with egg whites and ceramic powder and fill leaks. (Fan Chenchun, Ye Fuguo, 2023) Cultural Connotation

In terms of love, ceramic repairing technology from the ancient Chinese "love ceramic heart, cherish the feelings of things", in the traditional concept of the Chinese people, pay attention to the harmony between heaven and humanity, the Tao law of nature, all things in the world to report respect, cherish the heart, the pursuit of "making the best use of things". The invention of ceramic to bring great convenience to people's lives, but ceramic is thin and brittle fragile, in ancient times, the production of ceramic is not as common as today's, broken ceramic to stay useless, it is a pity to abandon, in the "Reverence for Nature and Frugality" idea, curium curium technology came into being to serve people's daily lives, the continuation of the service life of the ceramic is the ancients, "cherish" "thrift" and other virtues embodied. ceramic curium patch in addition to the continuation of the service life of ceramic, and sometimes also to send a good emotion. In some ancient regions of the marriage customs, there are married daughters with copper nails to accompany the custom of earthenware pots, copper nails are generally five, nails and ding homophonic in the ceramic pots to add nails implies "add ding add blessing", and five nails is a symbol of the "Five Sons Passing Imperial Exams", sent parents of their children's good wishes. (Zhou Haoran, Wang Hongquan, Lv Jian, 2023)

Words and Expressions

锔瓷 Chinese Ceramic Repairing

金刚钻 Diamond Drill

锔钉 Repairing Nail

马家窑文化 Majiayao Culture

仰韶文化 Yangshao Culture

敬天惜物 Reverence for Nature and Frugality

五子登科 Five Sons Passing Imperial Exams

天人合一 Harmony Between Heaven and Humanity

Question

1. When the earliest written records about ceramic repairing appeared?

2. What are core tools to repair ceramic and their role?

3. What is the core ideaof ceramic repairing?

Answer

1. Yuan dynasty literature for the first time clearly documented ceramic repairing methods, the Ming dynasty “Compendium of Materia Medica” further mentioned the application of diamond drill.

2. Diamond drill for drilling, repairing nail used to connect the fragments, the two cooperate to realize the repair.

3. To “Reverence for Nature and Frugality” as the core, reflecting the concept of sustainable development and traditional virtues.

参考文献

[1]Li Shizhen李时珍. 本草纲目[Compendium of Materia Medica][DB/OL]. (明)万历21年[1593]. 北京: 中国国家图书馆古籍资源库, 2023.

[2]Ito, Tōgai. Bakouhansaouki: The Record of the Leech-Stone Tea Bowl. Trans. Okada Shunsuke. Tokyo: Tōkyō Bijutsu Club, 1935: 45-48.

[3]Zhou Haoran,Wang Hongquan,Lv Jian周浩然,王红泉,吕健.器以载道涅槃重生——浅谈锔艺[Ware to carry the road to nirvana rebirth - talk about ceramic art][J].文物鉴定与鉴赏,2023,(06):138-141.DOI:10.20005/j.cnki.issn.1674-8697.2023.06.033.

[4]Feng Chao,Wei Jieyu冯巢,魏婕宇.基于陶瓷修复工艺的现代陶艺创作分析[Analysis of modern ceramic art creation based on ceramic restoration process][J].陶瓷科学与艺术,2022,56(07):22-23.DOI:10.13212/j.cnki.csa.2022.07.034.

[5]Fan Chenchun,Ye Fuguo范陈春,叶伏国.让“破瓷重圆”的锔瓷匠人[Let the “broken ceramic reunion”craftsman][N].福建日报,2023-03-25(005). DOI:10.28232/n.cnki.nfjrb.2023.001143.

I did not use Al's help in writing the final paper for this course.

锔瓷

摘要

锔瓷是一门古老的瓷器修复技艺，能将破碎的瓷器修补、复原、再创造，让残缺变成了一种更完整的美。本文主要介绍了锔瓷的历史、工艺流程和文化内涵，

历史发展

锔瓷技艺在正史中缺乏明确记载，具体的起源时间不可考，钻孔锯补的思想在新石器时代或已有之，据现代考古发掘资料可知，在马家窑文化、仰韶文化等遗址出土的陶器中，就已经发现有钻孔修补的痕迹，进入历史时期，镉瓷在唐、宋、元各代均有少量考古发现，元代的文献中已有关于瓷器修复的明确记载。明代，李时珍在其所著的《本草纲目》中写道："其砂可以钻玉补瓷，故谓之钻。"（李时珍，1593）其中提到的"钻"就是指"金刚钻"，钻玉补瓷就是指金刚钻可以用来在玉器、瓷器上打孔镉补，金刚钻是铜瓷技艺中的主要工具之一，有句尽人皆知的歇后语叫"没有金刚钻，别揽瓷器活"，就是来源于饲瓷这一行当。日本儒学家伊藤东涯所著的《蚂蟥绊茶瓯记》（Ito, Tōgai，1935）一书中，记载了一件著名的铜器，名蚂蟥绊茶瓯。（周浩然,王红泉,吕健，2023）

工艺流程

锔瓷工艺所采用的工具为调钉和金刚钻，其作为铜瓷工艺中的两项必备工具，在铜瓷工艺实践过程中具有十分重要的作用，锔钉与金刚钻在编瓷工艺中的应用原理理解起来其实较为容易。首先，金刚石作为金刚钻的钻头，坚硬度极强，相关修复人员可以利用金刚钻完成对修复陶瓷的钻孔，在实际的钻孔作业中，修复人员可以通过发挥术杆和皮绳的积极作用，来有效实现金刚钻在待修复陶瓷表面的特定位置进行高速旋转，从而实现陶瓷坯体的钻孔，需要特别注意的是相关修复人员要对孔洞的实际效果进行严格把控，不仅要有效避免因孔洞过深而导致的坯体穿透，而且还不能使孔洞太浅，以免不利于后期对嵋钉钉脚的固定，因此，对待修复陶瓷的钻孔需要确保相关孔洞可以产生一定程度的内收趋势，从而在此基础之上对错钉的后续操作奠定基础》。在当前发展阶段下金刚钻已逐渐被牙钻所替代。其次，锔钉是平直状的金属类工具，在锔瓷工艺的应用过程中相关修复人员需要对铜钉进行相应的处理，即需要将其两侧折弯，折弯的部分就是上文所提到的钉脚，需要注意的是，钉脚需要具备一定程度的内收角度，才能更好地应用至锔瓷二艺，为后续的上钉作业做好准备。（冯巢,魏婕宇，2022）

锔瓷第一步是找碴、对缝，让破损的瓷器恢复原状，这过程不能放过任何细微的冲线或裂痕，然后进行修补。即使看似严丝合缝，但要做到滴水不漏并不是一件易事。

第二步则是定位点记。锔瓷手艺人根据器物器形和纹饰以及张合位置、位点，确定铜钉的形状、数量和最佳位置。

锔瓷的第三步，是用符合铜钉脚大小的金刚钻打孔。钻孔时不能手打滑，要掌握钻孔深度，稍有不慎就会把瓷器打崩。

第四步是锔钉，锔钉制作体现手艺人的水平。一枚锔钉的制作大概需要15分钟的敲打和打磨，锔钉的韧性和制作锔钉的水平决定着锔补器皿的使用寿命。为防止瓷器漏水，最后还要用鸡蛋清和瓷粉调和补漏。（范陈春,叶伏国，2023）

文化内涵

于情而言，锔瓷技艺源于中国古人"爱瓷之心、惜物之情"，在中国人的传统观念中，讲究天人合一、道法自然，对世间万物报有尊敬、爱惜之心，追求"物尽其用"。瓷器的发明给人们的生活带来极大的便利，但是瓷器薄脆易碎，在古代，瓷器的生产不如今日之普遍，破损的瓷器留之无用，弃之可惜，在"敬天惜物"的思想下，锔瓷技艺应运而生，服务于人们的日常生活，延续了瓷器的使用寿命，是古人"惜物""勤俭"等美德的体现。瓷器锔补除了延续瓷器的使用寿命之外，有时还为了寄托美好情感。在古代一些地区的婚嫁习俗里，有给出嫁的女儿陪嫁带铜钉的土瓷罐的习俗，铜钉一般为五个，钉与丁同音在瓷罐上添钉寓意"添丁添福"、而五个钉则象征“五子登科”，寄托了父母对子女美好的祝福。（周浩然,王红泉,吕健，2023）

术语表达

锔瓷 Chinese Ceramic Repairing

金刚钻 Diamond Drill

锔钉 Repairing Nail

马家窑文化 Majiayao Culture

仰韶文化 Yangshao Culture

敬天惜物 Reverence for Nature and Frugality

五子登科 Five Sons Passing Imperial Exams

天人合一 Harmony Between Heaven and Humanity

问题

1.锔瓷技艺最早的文字记载出现于何时？

2.锔瓷的核心工具及其作用是什么？

3.锔瓷文化内涵的核心理念是什么？

答案

1.元代文献首次明确记载瓷器修复方法，明代《本草纲目》进一步提及金刚钻的应用。

2.金刚钻用于钻孔，锔钉用于连接碎片，二者配合实现修复。

3.以"敬天惜物"为核心，体现可持续发展观与传统美德。

参考文献

[1]Li Shizhen李时珍. 本草纲目[Compendium of Materia Medica][DB/OL]. (明)万历21年[1593]. 北京: 中国国家图书馆古籍资源库, 2023.

[2]Ito, Tōgai. Bakouhansaouki: The Record of the Leech-Stone Tea Bowl. Trans. Okada Shunsuke. Tokyo: Tōkyō Bijutsu Club, 1935: 45-48.

[3]Zhou Haoran,Wang Hongquan,Lv Jian周浩然,王红泉,吕健.器以载道涅槃重生——浅谈锔艺[Ware to carry the road to nirvana rebirth - talk about ceramic art][J].文物鉴定与鉴赏,2023,(06):138-141.DOI:10.20005/j.cnki.issn.1674-8697.2023.06.033.

[4]Feng Chao,Wei Jieyu冯巢,魏婕宇.基于陶瓷修复工艺的现代陶艺创作分析[Analysis of modern ceramic art creation based on ceramic restoration process][J].陶瓷科学与艺术,2022,56(07):22-23.DOI:10.13212/j.cnki.csa.2022.07.034.

[5]Fan Chenchun,Ye Fuguo范陈春,叶伏国.让“破瓷重圆”的锔瓷匠人[Let the “broken ceramic reunion”craftsman][N].福建日报,2023-03-25(005). DOI:10.28232/n.cnki.nfjrb.2023.001143.

我在此保证，我没有使用 Al的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Liu_Xiaojia#Final_Paper 素斋和寺院饮食文化 Vegetarian Food and Temple Food Culture

Vegetarian Monastic Cuisine and Temple Food Culture

Liu Xiaojia

Abstract:Monastic vegetarian cuisine is far more than a simple dietary choice; it is a profound manifestation of Buddhist spirituality in food, integrating precepts, meditation, and reverence for life. This paper explores the precept of "ahimsa" (non-killing) and the philosophy of compassion underpinning vegetarian monastic cuisine. It analyzes how the "Five Contemplations during Meals" transforms daily eating into a spiritual practice, traces its historical evolution since Emperor Wu of Liang, and examines its unique value within contemporary trends of healthy eating and environmentalism. With its principles of purity, simplicity, and cherishing resources and life, temple food culture offers modern society a precious perspective for reflecting on life ethics and lifestyles.

In the serene tranquility of temples marked by morning bells and evening drums, what wafts up is not only the sound of sutra chanting but also the simple yet deeply meaningful aroma of food from the refectory. Temple vegetarian cuisine, a dietary tradition rooted in Buddhist precepts and the spirit of compassion, has long transcended mere sustenance to become a vital vessel connecting faith, spiritual practice, culture, and nature.

I.Spiritual Core: The Interweaving of Precepts, Compassion, and Practice

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The foundation of temple vegetarian culture is deeply embedded in core Buddhist principles. Foremost is the precept of "ahimsa," reflecting equal respect and deep compassion for all life. Emperor Wu of Liang (Xiao Yan), based on doctrines like the Nirvana Sutra, vigorously promoted abstinence from alcohol and meat in the sixth century CE, decreeing that monks and nuns eat vegetarian food, thus establishing the basis for the vegetarian tradition in Chinese Buddhism. Secondly, eating is regarded as a crucial aspect of spiritual practice. The "Five Contemplations during Meals" require practitioners to engage in five reflections while dining: 1) Reflecting on the effort that brought the food; 2) Reflecting on one's own virtue and whether one is worthy to receive it; 3) Guarding the mind against faults, especially greed; 4) Regarding the food as medicine to nourish the body; 5) Partaking to sustain oneself for the sake of spiritual progress. This transforms daily meals into a practice cultivating gratitude, countering desire, and focusing on the present moment. The solemn rituals of the formal monastic meal ritual ("Guotang")-silence, proper posture, chanting offering verses, and specific serving rules-further elevate dining into a dignified religious practice, allowing one to appreciate the essence of food in stillness and pursue purity of both body and mind.

II.Historical Evolution and Culinary Wisdom: From Simplicity to "Simulating Meat"

Temple cuisine has continuously evolved throughout history. Early monks relied on alms, their diet simple and dependent on circumstance. As monasteries gained economic independence, the tradition of "integration of farming and Chan practice" (as advocated by Master Baizhang Huaihai: "A day without work is a day without food") enabled self-sufficiency, leading to more stable diets. Restricted primarily to seasonal vegetables, soy products, mushrooms, and grains, temple kitchens demonstrated extraordinary ingenuity. To meet practitioners' needs or host visitors, they developed the sophisticated art of "simulating meat dishes with vegetarian ingredients" (Yi Su Tuo Hun) – using the properties of ingredients to mimic the texture and form of meat through shaping and seasoning, such as vegetarian "chicken," "fish," or "ham." This was both a skillful accommodation of worldly tastes and an implicit expression of the Chan principle of "non-attachment to form" (Bu Zhuo Xiang): the external shape and taste are illusory; the essence remains pure vegetarian food. Famous temples like Lingyin Temple in Hangzhou and Nanputuo Temple in Xiamen have gained international acclaim for their refined and creative vegetarian banquets, becoming unique treasures within Chinese culinary culture.

III. Contemporary Resonance: The Universal Value of Pure Food

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The ancient temple food culture finds renewed vitality in contemporary society.Its low-fat, low-cholesterol, high-fiber vegetarian structure aligns with modern nutritional science advocating healthy lifestyles；It embodies environmentalism: producing vegetarian food consumes far fewer resources and generates less carbon than meat production, reflecting the Buddhist concept of "cherishing blessings" (Xi Fu) and offering a practical path to combat climate change；It nourishes the spirit: the moderation, gratitude, and mindfulness advocated by temple food culture offer an antidote to the fast-paced, materially excessive modern world, guiding a return to simplicity and introspection.

The rise of global vegetarianism and the innovative adaptation of temple flavors by high-end urban vegetarian restaurants attest to its profound influence. The philosophies it embodies-"equality of all sentient beings," "reverence for nature," and "contentment and cherishing blessings"-constitute vital intellectual resources for addressing contemporary ecological crises and spiritual dilemmas.

Temple vegetarian cuisine is a profound expression of compassion served in bowls and plates, a path of spiritual practice traced with chopsticks and spoons. Rooted in Buddhist faith and refined over millennia, it weaves wisdom of purity, simplicity, gratitude, and cherishing resources into every meal. In today's world of material abundance, this faith-based food culture, with its deep respect for life, harmonious attitude towards nature, and focus on inner contemplation, continues to offer precious nourishment for both body and spirit. It guides us in contemplating what constitutes a more sustainable and mindful way of living.

Reflections and Discussion:

1. Does the phenomenon of "imitation meat dishes" (e.g., vegetarian chicken, fish) contradict the fundamental Buddhist principles of "non-attachment to form" and "renouncing greed"? What cultural significance and potential controversies surround their existence?

2. In the modern society with vastly improved material conditions, how do temples balance maintaining traditional vegetarian precepts (e.g., avoiding pungent vegetables like the "Five Pungent Spices," not eating after noon) with meeting the nutritional and health needs of monastics? How can traditional monastic dietary principles be reconciled scientifically with modern nutrition?

Answers:

1.Controversy and Significance of "Imitation Meat":

Expedient Means & Cultural Adaptation:Its initial emergence served primarily as an "expedient means" (upaya). It catered to the palates of new initiates or lay devotees/visitors accustomed to meat, lowering the barrier to vegetarianism and facilitating the guidance of beings. It also signified respect and abundance when hosting important guests during events like Dharma assemblies.

Culinary Skill & Resourcefulness: It showcases the exceptional skill of monastic chefs in creatively transforming limited, humble ingredients, representing wisdom in cherishing food and pursuing flavor – a culinary art form in itself.

Controversy: "Attachment to Form" & Craving: Critics argue that excessive pursuit of mimicking meat's form and taste may reinforce craving and attachment to meat sensations, contradicting the practice's aim of "seeing through" and "letting go" of attachment to sensory pleasures ("non-attachment to form"). Excessive refinement may also deviate from the original intent of simple practice.

Modern Perspective: With the widespread popularity of vegetarian culture, its necessity as a "transitional" tool diminishes. Increasingly, temples and vegetarians favor "pure cuisine" (Zhen Wei Zhai Cai) that highlights the natural flavors of ingredients, avoiding imitation meat to reduce controversy and better align with the spirit of practice. Nevertheless, as a product of a specific historical period and a unique culinary technique, it retains value for cultural research and preservation.

2.Balancing Traditional Precepts with Modern Nutrition:

Respecting Core Precepts: Abstaining from "meat and pungent vegetables" (animal products and the Five Pungent Spices) remains the core precept of Chinese Buddhist vegetarianism, strictly upheld in modern monasteries, based on compassion (ahimsa) and practice considerations (pungent spices are said to increase agitation when raw and lust when cooked, disturbing the mind).

Scientific Understanding & Flexible Adaptation:

Nutritional Balance: Modern nutrition confirms that a well-planned vegan diet can meet all human health needs. The key is dietary diversity and scientific combination. Monastery kitchens increasingly emphasize incorporating legumes, nuts, whole grains, and fungi/algae to ensure adequate protein, Vitamin B12 (via fortified foods/supplements), iron, calcium, and Omega-3s. Modern Practice of "Not Eating After Noon": Strict adherence to "not eating after noon" (abstaining from solid food from noon until dawn) is not universally enforced in contemporary monasteries, especially in those requiring physical labor. It often evolves into consuming "medicine stones" (Yao Shi) – simple medicinal broths or light snacks in the evening – to meet basic energy needs and prevent hunger from disrupting sleep and practice. The core spirit – dietary moderation, easing digestive burden, maintaining mental clarity – remains paramount.

Addressing Individual Needs:Elderly, frail, or monastics with specific health requirements receive appropriate care within the framework of core precepts, potentially including nutritional supplements or more easily digestible foods.

Unchanging Core: Regardless of minor adjustments in form, the core purpose of monastic cuisine remains unchanged: maintaining a healthy body ("borrowing the temporary to cultivate the true" - Jie Jia Xiu Zhen) to support diligent spiritual practice, while cultivating compassion, discipline, contentment, and gratitude through pure food. Modern nutritional knowledge provides powerful tools for achieving this goal more scientifically.

References:

1. Sheng Kai. (2008). Rituals of Chinese Han Buddhism. Religious Culture Press. (Key chapters on dietary precepts & formal meal rituals).

2. Zhao Puchu. (1983). Common Questions About Buddhism. Buddhist Association of China. (Authoritative answers on basic Buddhist doctrines & institutions, including vegetarian origins).

3. Li Minsheng (Ed.). (2010). Chinese Vegetarian Cuisine. Shanghai Culture Press. (Comprehensive history, schools, techniques of Chinese vegetarianism, including famous temple cuisine).

4. Special Feature: Mahayana Buddhism and Vegetarianism. (2021). Chinese Religion, (05). (Journal feature with contemporary articles on Buddhist vegetarian thought, history & practice).

5. Kieschnick, J. (2005). The Impact of Buddhism on Chinese Material Culture. Princeton University Press. (English monograph on Buddhism's influence on Chinese material culture, including diet).

6. N. Danielle. (2018). Vegetarianism and Veganism: A Comparative Analysis. In Oxford Research Encyclopedia of Religion. Oxford University Press. (Comparative religious analysis of vegetarianism, including Buddhism).

AI Declaration:I hereby guarantee that I have not used the help of AI to write my final paper in this course.

素斋与寺院饮食文化

刘小佳

摘要：寺院素斋远非简单的素食选择，它是佛教精神在饮食中的深刻体现，融合了戒律、禅修与生命关怀。本文探讨素斋背后的“不杀生”戒律与慈悲哲学，剖析“食存五观”如何将日常进食转化为修行法门，追溯其自梁武帝以来的历史演变，并分析其在当代健康饮食与环保潮流中的独特价值。寺院饮食文化以其清净简约、惜物重生的理念，为现代社会提供了反思生命伦理与生活方式的珍贵视角。

在晨钟暮鼓的幽静寺院里，袅袅升起的不仅是诵经声，还有斋堂里质朴却蕴含深意的饭菜香气。寺院素斋，这一源于佛教戒律与慈悲精神的饮食传统，早已超越果腹的层面，成为连接信仰、修行、文化与自然的重要载体。

一、精神内核：戒律、慈悲与修行的交织

寺院素食文化的根基深植于佛教核心理念。首重“不杀生”戒律，体现对一切生命的平等尊重与深切慈悲。梁武帝萧衍基于《涅槃经》等教义，于公元六世纪大力推行断酒肉，诏令僧尼食素，奠定了汉传佛教素食传统的基础。其次，饮食被视为修行的重要环节。“食存五观”要求用斋时作五种观想：计功多少，量彼来处；忖己德行，全缺应供；防心离过，贪等为宗；正事良药，为疗形枯；为成道业，应受此食。这使日常饮食成为培养感恩心、对治贪欲、专注当下的修行法门。过堂（寺院集体用餐）时的肃穆仪轨——止语、端坐、诵供养偈、行堂规矩，更将用斋转化为庄严的宗教实践，在寂静中体味食物本真，追求身心的双重清净。

二、历史流变与饮食智慧：从简朴到“以素托荤”

寺院饮食随历史长河不断演变。早期僧侣托钵乞食，饮食简朴，随缘而化。随着寺院经济独立，“农禅并重”的传统（如百丈怀海禅师倡导“一日不作，一日不食”）使寺院得以自给自足，饮食也渐趋稳定。在食材受限（主要为时令蔬菜、豆制品、菌菇、谷物）的情况下，寺院厨房展现出非凡智慧。为满足修行者需求或接待访客，发展出“以素托荤”的精湛技艺——利用食材特性，通过造型、调味模拟荤食口感与形态，如素鸡、素鱼、素火腿。这既是对世俗口味的巧妙迁就，也暗含“不着相”的禅意：外在形味皆是虚幻，本质仍是清净素食。名刹如杭州灵隐寺、厦门南普陀寺的素斋，以其精致与创意享誉海内外，成为中华饮食文化中的独特瑰宝。

三、当代回响：清净饮食的普世价值

古老的寺院饮食文化在当代社会焕发新的生命力。

古老的寺院饮食文化启示低脂、低胆固醇、高纤维的素食结构，契合现代营养学倡导的健康理念；古老的寺院饮食文化践行着环保理念，素食生产消耗的资源远低于肉食，减少碳排放，体现佛教“惜福”思想，为应对气候变化提供实践路径；古老的寺院饮食文化也有心灵滋养作用，寺院饮食倡导的节制、感恩、专注，为快节奏、物质过剩的现代社会提供了回归简单、观照内心的良方。全球素食风潮的兴起，都市高端素菜馆对寺院风味的借鉴创新，无不印证着其深远影响。其所蕴含的“众生平等”、“敬畏自然”、“知足惜福”的哲学，更是解决当代生态危机与心灵困境的重要思想资源。

寺院素斋，是盛于碗碟间的慈悲诗篇，是行于箸勺下的修行轨迹。它从佛教信仰的沃土中生长，历经千年沉淀，将清净、简约、感恩、惜物的智慧融入一餐一饭。在物质丰盈的今天，这份源于信仰的饮食文化，以其对生命的深切尊重、对自然的和谐态度以及对心灵的内在观照，持续为世人提供着滋养身体、澄澈精神的宝贵甘露，指引我们思考何为更可持续、更有觉知的生活方式。

思考与探讨：

1.“仿荤素斋”现象（如素鸡、素鱼）是否与佛教“不着相”、“戒除贪欲”的根本精神相悖？其存在有何文化意义与潜在争议？

2.在物质条件极大改善的现代社会，寺院如何平衡保持传统素食的清规戒律（如不食五辛、过午不食等）与满足僧人营养健康需求之间的关系？传统斋食理念如何科学应对现代营养学？

问题解答：

1. 关于“仿荤素斋”的争议与意义：

①方便法门与文化适应： 其产生最初主要是作为“方便法门”。一方面，满足初入佛门者或习惯肉食的在家信众、访客的口腹之欲，降低素食门槛，利于接引众生。另一方面，在特定历史时期（如重要法会、接待贵宾），以此体现待客的尊重与丰盛。

②技艺体现与惜物智慧：它极大展现了素厨利用有限、朴素食材进行创造性转化的高超技艺，是珍惜食材、追求美味的智慧结晶，本身也是一种饮食艺术。 争议点“着相”与贪念：批评者认为，过分追求形似和味似荤食，可能强化对肉食味道和形态的贪恋执着，与修行旨在“看破”、“放下”对感官享受的执着（“不着相”）背道而驰。过度精致也可能偏离朴素修行的本意。

③现代视角：在现代素食文化普及的背景下，其作为“过渡”的必要性减弱。越来越多的寺院和素食者更倾向于展现食材本味的纯净料理（“真味斋菜”），避免仿荤，以减少争议，更契合修行本怀。但其作为特定历史阶段的产物和一项独特的烹饪技艺，仍具有文化研究和保存的价值。

2.关于传统戒律与现代营养健康的平衡：

①尊重根本戒律：“不食荤腥”（动物性食材及五辛）是汉传佛教素食的核心戒律，现代寺院普遍严格持守。这是基于慈悲精神（不杀生）和修行考量（五辛生食生嗔、熟食助淫，扰乱心神）。

②科学理解与灵活调整：

营养均衡：现代营养学证实，纯素饮食完全能满足人体健康需求，关键在于食物多样性和科学搭配。寺院斋堂更注重引入豆类、坚果、全谷物、菌藻类等，确保蛋白质、维生素B12（可通过强化食品或补充剂）、铁、钙、Omega-3等营养素充足。

“过午不食”的现代实践：严格“过午不食”（午后至次日清晨不进食固体）在当代寺院中并非普遍严格执行，尤其在需要体力劳动的丛林寺院。更多演变为“药石”（晚间简单的药膳或点心），以满足基本能量需求，避免因饥饿影响睡眠和修行。其精神内核——节制饮食、减轻肠胃负担、保持头脑清明——仍被重视。

关注个体差异：对年老、体弱或特殊健康需求的僧人，在持守根本戒律的前提下，饮食安排上会给予适当照顾，可能包含营养补充剂或更易消化的食物。

核心不变：无论形式如何微调，寺院饮食的核心目标从未改变：维持健康的色身以利于精进修行（“借假修真”），同时通过清净的饮食培养慈悲、持戒、知足和感恩的心性。现代营养知识为更科学地实现这一目标提供了有力工具。

参考文献：

1. 圣凯. (2008). 《中国汉传佛教礼仪》. 宗教文化出版社. (重点参考其中关于饮食戒律与过堂仪轨的章节)

2. 赵朴初. (1983). 《佛教常识答问》. 中国佛教协会. (权威解答佛教基本教义与制度，包括素食渊源)

3. 李敏生. (主编). (2010). 《中国素斋》. 上海文化出版社. (系统介绍中国素斋历史、流派、技艺，包含著名寺院素斋)

4. 《大乘佛教与素食主义》专题. (2021). 《中国宗教》, (05). (期刊专题，包含多篇探讨佛教素食思想、历史与实践的当代论文)

5. Kieschnick, J. (2005). The Impact of Buddhism on Chinese Material Culture. Princeton University Press. (英文专著，探讨佛教对中国物质文化的影响，包含饮食方面)

6. Danielle N. (2018). Vegetarianism and Veganism: A Comparative Analysis. In Oxford Research Encyclopedia of Religion. Oxford University Press. (从比较宗教学角度分析素食主义，涉及佛教部分)

AI声明：我保证在本课程期末论文写作过程中未使用人工智能辅助工具

https://bou.de/u/wiki/User:Peng_Peixin#Final_Paper 《藏海传》The Legend of Zang Hai

The Application and Embodiment of Chinese Cinematic Aesthetics in The Legend of Zang Hai

202330092205 彭佩欣 Peng Peixin

Abstract: The Legend of Zang Hai (Zang Hai Zhuan) was the most popular Chinese historical political drama of 2025, another masterpiece directed by Zheng Xiaolong following The Legend of Zhen Huan. Every aspect, from characters and plot to dialogue and settings, demonstrates meticulous craftsmanship. The series garnered widespread acclaims both domestically and internationally. Its success stems not only from the production team's high-quality execution and the actors' superb performances but also from its cinematography, which is deeply imbued with the characteristics of Chinese aesthetics. This essay aims to conduct an in-depth analysis of the multi-dimensional features of Chinese cinematic aesthetics in The Legend of Zang Hai , exploring how it utilizes various techniques to shape artistic conception (yijing), convey spirit-resonance (qiyun), and intricately interweave with narrative. In doing so, it showcases artistic appeal while achieving cultural transmission.

Keywords: The Legend of Zang Hai (Zang Hai Zhuan), Chinese Aesthetics, Artistic Conception (Yijing), Lively Spirit-Resonance (Qiyun Shengsheng), Focus Perspective, Color Aesthetics

In recent years, numerous domestic television dramas have focused on enhancing their cinematographic aesthetics. This is particularly true for Chinese historical dramas, which have disseminated Eastern aesthetics globally, offering visual feasts to audiences. The Legend of Zang Hai , serving as a visual aesthetic benchmark for Chinese historical dramas in 2025, roots its cinematic language deeply in the spirit of traditional Chinese art. The Chinese aesthetics manifested in this series are conveyed through unique visual representations, extending and developing China's outstanding traditional culture. The Legend of Zang Hai employs distinctive cinematographic techniques to articulate elements such as classical artistic conception (yijing), spirit-resonance (qiyun), and spatial concepts, delivering a unique visual and cultural immersion for audiences. The following sections will introduce several prominent multi-dimensional features of Chinese cinematic aesthetics in the series.

1. Crafting "Artistic Conception" (Yijing).(Ye 2015) The Legend of Zang Hai excels in using empty shots to convey profound meanings.

For instance, in scenes of snow falling in a courtyard, the silent image of snowflakes drifting and accumulating in the deserted space evokes desolation and melancholy. This prefigures the impending power struggles and character fate reversals, creating a solemn atmosphere that resonates with viewers and immerses them in anticipation. Simultaneously, the series masterfully employs layered lighting and shadow to build artistic conception. Behind sheer curtains, hazy light and shadow outline figures with graceful silhouettes and elusive faces, creating an ethereal quality as if stepping out of an ancient painting. Under candlelight, silhouettes dance; characters' emotions—joy or sorrow, plotting or contemplation—are hidden within the interplay of light and dark. This subtle yet intense technique allows the audience to glimpse the characters' inner secrets through the gaps in the illumination, transporting them into the realm depicted in classical poetry with lingering resonance.

2. The Pursuit of "Lively Spirit-Resonance" (Qiyun Shengsheng).(Wang 2020) The camera in The Legend of Zang Hai slowly tracks along the mural discovered by the protagonist Zang Hai in a tomb. The long mural unfurls like an ancient scroll as the camera progresses(Xie 1959), gradually focusing on its details. This technique not only advances the plot but also simulates a "viewing journey" (youguan) experience. The audience, synchronized with the protagonist, explores the mural's mysteries and senses the enigmatic atmosphere, allowing the spirit-resonance (qiyun) to flow and extend. Moreover, character movements are precisely synchronized with camera motion. When a character performs a ritual bow, the camera subtly dips and slowly pushes in, meticulously revealing the respectful posture—body leaning forward, hands folded. The solemnity of ritual propriety and the character's reverence converge within the frame. This seamless choreography of action and camera movement flows with grace (xing yun liu shui), fully expressing the character's spirit-resonance (qiyun) and vitality.

3. Breaking "Focus Perspective".(Gaston 2014) In the imperial court assembly scenes, civil and military officials are symmetrically positioned on the left and right sides of the hall. However, the composition is not static; guards stand respectfully to the side. Although figures are not centered, a dynamic balance emerges within the symmetrical framework. The viewer's gaze can freely traverse the spaces between figures and architecture, appreciating the spatial layers. This approach breaks free from the constraints of Western perspective, fully embodying the Eastern concept of free spatial perception.

4. The Collision of "Color Aesthetics".(Malcolm 2004) The overall color palette of the series predominantly features traditional Chinese colors. Palace scenes utilize red walls and golden roofs, signifying imperial majesty and dignity. Scenes set in the martial world (jianghu) employ washes of bamboo green and ink black, with bamboo forests and clear streams restoring nature's tranquil essence. Character costumes reflect status and personality: officials wear cyan-blue, symbolizing steadiness and solemnity, while the princess wears red and navy blue, highlighting her high status and vibrant personality. During moments of peril, dark red and deep brown saturate the screen, creating an oppressive and tense atmosphere. The collision and harmonization of colors precisely anchor the emotional tone, intensifying the narrative atmosphere and allowing the audience to instantly grasp the plot direction and character states.

The Legend of Zang Hai profoundly embraces Chinese cinematic aesthetics. From the artistic conception (yijing) crafted through empty shots, light, and shadow, to the lively spirit-resonance (qiyun shengsheng) achieved through camera movement and synchronized action; from the breaking of focus perspective to the infusion of traditional color aesthetics, it constructs a visual spectacle rich in Eastern charm. The series pioneers a new path for Chinese television drama creation, mining traditional culture as a rich vein of creativity to unearth profound cultural depth and unique artistic appeal. Externally, it serves as a substantial cultural calling card, showcasing the profundity and richness of Chinese aesthetics to the world, attracting global attention to Eastern cinema and television, and contributing to cultural export and civilizational exchange.

References: (1) Zong, Baihua. (1981). A Stroll through Aesthetics M M. Shanghai: Shanghai People's Publishing House. (2) Ye, Lang. (2015). Beauty Lies in the Image-Conception M M. Beijing: Beijing United Publishing Co., Ltd. (3) Xie, He. (1959). The Record of the Classification of Old Painters (Guhuapinlu) M M. Beijing: People's Fine Arts Publishing House. (4) Wang, Qiang. (2020). The Transformation and Application of 'Qiyun Shengsheng' in Contemporary Film and Television Creation J J. Journal of Beijing Film Academy, (02). (5) Bachelard, Gaston. (2014). The Poetics of Space. (Pan Yihai, Trans.). Shanghai: Shanghai Translation Publishing House. (Original work published 1958) (6) Barnard, Malcolm. (2004). Approaches to Understanding Visual Culture. (Li Benbing, Trans.). Beijing: China Renmin University Press. (Original work published 2001)

Terms and Expressions: Artistic Conception (Yijing)意境 Empty Shot空镜头 Layered Lighting and Shadow光影层次 Lively Spirit-Resonance (Qiyun Shengsheng)气韵生动 Camera Movement 运镜 Viewing Journey (Youguan)游观 Flowing with Grace行云流水 Focus Perspective焦点透视 Dynamic Balance 动态平衡 Color Aesthetics色彩美学 Bamboo Green and Ink Black青墨色 Cyan-Blue青蓝色 Navy Blue藏青色 Dark Red and Deep Brown 暗红与深褐 Martial World (Jianghu) 江湖 Cultural Calling Card 文化名片 Spirit-Resonance (Qiyun)气韵 Color Collision 色彩碰撞 Questions: 1.What aspects of Chinese cinematic aesthetics are applied in The Legend of Zang Hai according to this paper? Crafting "Artistic Conception" (Yijing); Pursuing "Lively Spirit-Resonance" (Qiyun Shengsheng); Breaking "Focus Perspective"; Employing "Color Aesthetics" 2.What is the function of applying "Lively Spirit-Resonance" (Qiyun Shengsheng)? Immersive Storytelling & Emotional Flow; Expressing Vitality & Inner State 3.How are the profound implications conveyed in The Legend of Zang Hai ? Empty Shots.

《藏海传》中中式镜头美学的运用与体现

彭佩欣

摘要：《藏海传》是2025年最火爆的中国古装权谋剧，是郑晓龙导演继《甄嬛传》之后又打造的一部佳剧。从人物到剧情到台词到场景，每一个环节都独具匠心，该剧在海内外收获了一众好评，该剧的成功不仅离不开制作方的精良制作和演员的精湛演绎，而且其中的镜头场景极具中式美学的特征。本文旨在深入剖析《藏海传》中中式镜头美学的多维特征，探究其如何依托各类手法塑造意境、传递神韵，并与剧情叙事紧密交织，既展现艺术魅力，又实现文化传承。

关键词：藏海传，中式美学，意境，气韵生动，焦点透视，色彩美学

近年来，众多国产电视剧在镜头美学上下功夫，特别是国产古装剧，将东方美学传播至海外各地，给影迷们贡献视觉盛宴。《藏海传》作为2025年国产古装剧的视觉美学标杆，其镜头语言深度植根于中国传统艺术精神。该剧中体现的中式美学通过独特视觉表示出来，延续和发展中华优秀传统文化。《藏海传》用独特的镜头语言将古典意境、气韵、空间观念等要素娓娓道来，为观众带来别具一格的视觉盛宴与文化浸润。下面会对《藏海传》中中式镜头美学的几个突出的多维特征进行介绍。

1.“意境”的营造。（叶 2015） 《藏海传》善于用空镜头来传达深远意蕴。如雪落庭院场景，空无一人的庭院中，雪花静静飘落堆积，无声的画面尽显萧索凄冷，为即将上演的权谋争斗、人物命运转折提前铺陈出凝重氛围，引得观众心生涟漪，提前沉浸其中。同时《藏海传》对光影层次的运用更是意境营造的妙笔，纱帘后，朦胧光影勾勒出人物婉约身姿、迷离面容，似真似幻，宛如从古画中走出。烛火下，剪影翩跹，人物或喜或悲、或谋或思的情绪隐匿于明暗交替间，含蓄又炽热，让观众透过光影间隙窥探人物心底隐秘，如临古典诗词所绘之境，余韵悠长。

2.“气韵生动”的追求。（王 2020） 《藏海传》中镜头缓缓推进于藏海在墓地中发现的壁画，长长的壁画宛如一幅古朴长卷（谢 1959），随着镜头推进徐徐展开，画面逐步聚焦壁画内容，不仅推动情节发展，还用运镜模拟出“游观”体验。观众同步和主人公窥探壁画奥秘，感受神秘氛围，气韵随之流动绵延。与此同时，人物动作也与镜头运动配合巧妙。如人物行礼时，镜头微微下沉、缓慢推进，身体前倾、双手交叠的恭敬动作纤毫毕现，礼法的庄重与人物的敬畏汇于画面。这一连串动作与镜头配合严丝合缝，仿若行云流水，尽展人物气韵与生命活力。

3.“焦点透视”的突破。（巴什拉 2014） 宫廷上朝场景中，文官和武官对称分布在大殿左右两侧，然而并非静态，侧留宫廷侍卫伫立，人物虽未处中心，却在对称框架里衍生出动态平衡。视线可自由穿梭于人物、建筑间隙，领略空间层次，挣脱西方透视桎梏，尽显东方自由空间观。

4.“色彩美学”的碰撞。（巴纳德 2004） 该剧整体色彩以中国传统颜色为主。宫廷场景，红墙金瓦，彰显皇家威严尊贵；江湖场景，青墨色晕染，竹海清流，还原自然的清幽本色；人物服饰，官场服饰采用青蓝色，象征沉稳庄重，郡主服饰采用红色和藏青色，凸显人物身份尊贵和性格活泼。危机四伏时，暗红和深褐充斥画面，营造压抑紧张的气氛。色彩的碰撞调和，精准锚定情绪坐标，强化叙事氛围，让观众一眼洞悉剧情走向、人物状态。

《藏海传》深度拥抱中式镜头美学，从意境营造的空镜头、光影，到气韵生动的运镜、动作配合，从焦点透视的打破到传统色彩美学的浸润，构造出极具东方神韵的影视奇观。它为国产电视剧创作开辟出中式美学新径，以传统文化为创意富矿，挖掘出深厚文化底蕴、独特艺术魅力；对外而言，更是一张响当当的文化名片，向世界昭示中华美学的博大精深，吸引全球目光聚焦东方影视，为文化输出、文明互鉴添砖加瓦。

词汇表：意境Artistic Conception (Yijing) 空镜头Empty Shot 光影层次Layered Lighting and Shadow 气韵生动Lively Spirit-Resonance (Qiyun Shengsheng) 运镜Camera Movement 游观Viewing Journey (Youguan) 行云流水Flowing with Grace 焦点透视Focus Perspective 动态平衡Dynamic Balance 色彩美学Color Aesthetics 青墨色Bamboo Green and Ink Black 青蓝色Cyan-Blue 藏青色Navy Blue 暗红与深褐Dark Red and Deep Brown 江湖Martial World (Jianghu) 文化名片Cultural Calling Card 气韵Spirit-Resonance (Qiyun) 焦点透视的突破Breaking Focus Perspective 色彩碰撞Color Collision

参考文献 (1)宗白华. 《美学散步》[M]. 上海：上海人民出版社，1981. (2)叶朗. 《美在意象》[M]. 北京：北京联合出版公司，2015. (3)谢赫. 《古画品录》[M]. 北京：人民美术出版社，1959. (4)王强. 《“气韵生动” 在当代影视创作中的转化与应用》[J]. 《北京电影学院学报》，2020（02）. (5)[法] 加斯东・巴什拉. 《空间的诗学》[M]. 潘译海，译. 上海：上海译文出版社，2014. (6)[英] 马尔科姆・巴纳德. 《理解视觉文化的方法》[M]. 李本丙，译. 北京：中国人民大学出版社，2004. 问题： 1.本文讲了哪几个《藏海传》中中式镜头美学的运用？ 2.“气韵生动”的运用有什么作用？ 3.《藏海传》的深远意蕴通过什么来传达？

AI陈述：我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Xu_Huanchang#Final_Paper 长江七号 Changjiang Number 7

CJ7: The Tragedy of China's Underprivileged Society beneath the Comic Surface Xu Huanchang Abstract The film CJ7 is presented in a comedic form, yet it contains profound social tragic connotations. This paper explores the sorrow of China's underprivileged society revealed beneath the comedic veneer from four aspects: the film's plot background, classic lines, emotional analysis, and its connection with Western culture. Through the analysis of emotions such as family affection and friendship in the film, combined with the historical background, it reveals the tragic nature of the film's ending — "CJ7" is merely a pipe dream of a fatherless child. This interpretation not only showcases the plight of China's underprivileged society but also echoes the tragic spirit in Western culture. I. The Plot Background of the Film CJ7 The film CJ7 tells a story that takes place on the outskirts of the city. Played by Stephen Chow, Zhou Tie is an ordinary construction worker who lives with his son, Zhou Xiaodi, in a shabby plank house. Despite their difficult living conditions, Zhou Tie places great importance on education and spends all his savings to send his son to a prestigious school. Their lives are filled with hardships, yet the father-son duo always remains optimistic. The film unfolds in a comedic form, and through Zhou Xiaodi's fantasy adventure with the alien creature "CJ7," it demonstrates the deep bond of family affection between the father and son, as well as the underprivileged people's longing for a better life. However, the background of the film is tinged with a tragic color. The Zhou family lives on the margins of the urbanization process, and their lives are overlooked by the tide of modernization. The recurring demolition scenes in the film symbolize the fate of the underprivileged being mercilessly abandoned in the process of urbanization. Although the film is presented in a comedic manner, this background sets a tragic tone for the entire story. II. Classic Lines and Tragic Connotations "We don't steal, we don't rob. We won't take what doesn't belong to us. You must study hard and grow up to be a useful person." This is the teaching of Zhou Tie to his son Xiaodi in the film and one of the most representative lines in the movie. This seemingly simple sentence contains profound meaning. Despite living in poverty, Zhou Tie always adheres to an upright principle of being a person. He hopes that his son can change their fate through hard study. This hope for the future and helplessness in the face of reality form a sharp contrast. Zhou Tie is well aware that he can't provide better material conditions for his son, but he hopes to teach his son by personal example and verbal instruction, making him understand that even if life is tough, one should never give up dignity and moral principles. This line also reflects the general mentality of China's underprivileged society. In the process of modernization, the underprivileged face enormous survival pressure, yet they still stick to their moral beliefs, hoping to change their situation through hard work. This mentality is similar to the "American Dream" in Western culture, both reflecting the underprivileged's longing for the future and their helplessness in reality. However, unlike the "American Dream," Zhou Tie and Xiaodi in the film fail to realize their dreams. Instead, they seem more powerless under the blows of reality. III. Emotional Analysis: Family Affection, Friendship, and Social Reality Family Affection: The Core of the Story In the film, the family affection between Zhou Tie and his son Xiaodi is at the core of the story. The father and son rely on each other, and although they live in poverty, they always maintain an optimistic attitude. This family affection is fully demonstrated in the film. For example, in order to enable his son to receive a better education, Zhou Tie spends all his money to send him to a noble school. He lives frugally to give his son the best life within his ability. The warmth of this family affection stands in sharp contrast to the hardships of life, further highlighting the sorrow of the underprivileged. Friendship: Coldness and Warmth In the film, Xiaodi hardly has any friends at school. Instead, he suffers greatly from the bullying of wealthy classmates and the coldness and disdain of teachers. The teacher who looks down on Xiaodi always criticizes his academic performance and behavior, and even turns a blind eye when Xiaodi is bullied. This coldness reflects the prejudice and discrimination of society towards the underprivileged. However, there is also a female teacher in the film who takes special care of Xiaodi. She not only cares about Xiaodi's study but also often encourages him. This warmth forms a sharp contrast with the coldness, demonstrating the complexity of human nature. The kindness and care of the female teacher bring a glimmer of light to Xiaodi's life, but they can't change his fate. The Foreman: A Complex Character The foreman in the film is a complex character. He seems irritable on the surface and often gets angry with the workers, but in fact, he is a kind-hearted person. He not only actively organizes the rescue after Zhou Tie falls from a height but also secretly supports Zhou Tie's family before that. This seemingly contradictory behavior reflects the multi-faceted nature of human nature. He plays the role of a "guardian" in the underprivileged society. Although his power is limited, he still tries his best to help those in need. The setting of this character not only enriches the layers of the film but also reflects the brilliance of human nature in China's underprivileged society.

CJ7: Fantasy and Reality In the film, "CJ7" is not only an alien creature in Xiaodi's fantasy but also a concretization of his deep-seated longing for a better life and his missing for his father. Under the double blows of being bullied and his father's fall from a height, "CJ7" becomes his only psychological consolation. It symbolizes Xiaodi's deep-seated expectation of a miracle and his deep longing for his father. By contrasting the miraculous power of "CJ7" in Xiaodi's fantasy with the helplessness in reality, the plight of the underprivileged society is further highlighted. In the fantasy, "CJ7" can save his father, but in reality, his father's fate cannot be changed. IV. Connection with Western Culture: Resonance of the Tragic Spirit The tragedy of the film CJ7 resonates with the tragic spirit in Western culture. In Western tragedies, characters often fail to achieve their ideals due to their own limitations or social oppression. For example, in the ancient Greek tragedy Oedipus Rex, Oedipus tries his best to escape his fate but ultimately cannot avoid it. This tragic spirit is also reflected in CJ7. Zhou Tie tries his best to strive, but in the end, he can't change his and his son's fate. At the end of the film, the return of CJ7 is just Xiaodi's last fantasy. The shattering of this fantasy further highlights the powerlessness of the underprivileged. In addition, this expression technique is similar to the common theme of the interweaving of fantasy and reality in Western literature and films, such as Alice's Adventures in Wonderland or the Harry Potter series. V. Conclusion The film CJ7 is presented in a comedic form but contains profound tragic connotations. Through the analysis of the classic plot and lines of the film, we can see the plight of China's underprivileged society in the process of modernization. Emotions such as family affection and friendship in the film are heart-warming, but they seem powerless in the face of the powerful social reality. This kind of tragedy resonates with the tragic spirit in Western culture, further highlighting the profundity of the film. Unlike the so-called "happy ending" in the last scene of the film, in fact, it is a little boy who, after long-term bullying, fantasizes about CJ7 coming to save him. After his father's death, he lives happily with his father in his fantasy, not daring to face the ending. The return of CJ7 is just Xiaodi's last fantasy. Even all the memories about CJ7 are just the desperate fantasy of a little boy sitting in front of the operating room. The shattering of this fantasy is not only a personal tragedy but also the real sorrow of the entire underprivileged society. Terms and Expressions

1.长江七号 CJ7 (The Alien Creature) 2.社会边缘群体 Marginalized Society 3.城市化进程 Urbanization Process 4.社会不平等 Social Inequality 5.底层社会 Underprivileged Society 6.社会现实主义 Social Realism 7.悲剧精神 Tragic Spirit 8.幻想与现实 Fantasy and Reality 9.社会批判 Social Critique 10.现代化 Modernization 11.社会阶层 Social Stratum 12.教育不平等 Educational Inequality

Questions: What does Zhou Tie's instruction to his son, Xiaodi, in the movie CJ7 reflect? What is the symbolic meaning of the character "CJ7" in the movie? How does the tragic nature of the movie CJ7 resonate with the tragic spirit in Western culture? Answers: It reflects that despite living in poverty, Zhou Tie adheres to an upright principle of conduct. He hopes his son can change their fate through hard study. This embodies the common mentality of the Chinese underprivileged, who stick to their moral beliefs and aspire to change their situation. At the same time, it shows a sharp contrast between the hope for the future and the helplessness in reality. "CJ7" is not merely an alien creature in Xiaodi's imagination. It is a concrete manifestation of his deep - seated yearning for a better life and his intense longing for his father. It symbolizes Xiaodi's expectation of a miracle and his desire for warmth and hope in difficult circumstances. In the movie, "CJ7" becomes Xiaodi's sole psychological comfort. The miracle and warmth it represents stand in stark contrast to the helplessness and hardships of reality, further highlighting the sorrow and helplessness of the underprivileged. In Western tragedies, characters often fail to fulfill their ideals due to their own limitations or social oppression, as seen in Oedipus Rex. In CJ7, Zhou Tie struggles hard but cannot alter his and his son's fate. The return of CJ7 at the end of the movie is just a shattered fantasy of Xiaodi, highlighting the powerlessness of the underprivileged. This echoes the tragic spirit in Western culture, and its expression technique is similar to the theme of the interweaving of fantasy and reality commonly found in Western literature and films. References [1] Stephen Chow. CJ7 [M]. China: Starlight Entertainment Company, 2008. [2] Zhang Yimou. Hero [M]. China: Zhang Yimou Studio, 2002. [3] Wang Xiaoming. Social Realities in Chinese Films [J]. Film Art, 2010(3): 45-52. [4] Aristophanes. The Birds [M]. Greece: Aristophanes, 414 BC. [5] Sophocles. Oedipus Rex [M]. Greece: Sophocles, 429 BC.

长江七号：喜剧外壳下中国底层社会的悲剧 许欢畅

摘要 电影《长江七号》以喜剧的形式呈现，却蕴含着深刻的社会悲剧内涵。本文从电影的剧情背景、经典台词、情感分析以及与西方文化的联系四个方面展开，探讨其在喜剧外壳下所揭示的中国底层社会的悲哀。通过对电影中亲情、友情等情感的剖析，结合时代背景，揭示出电影结局的悲剧性——“长江七号”只是一个失去父亲的孩子的黄粱一梦。这种解读不仅展现了中国底层社会的困境，也与西方文化中的悲剧精神相呼应。

一、电影《长江七号》的剧情背景

电影《长江七号》讲述了一个发生在城市边缘的故事。主角周星驰饰演的周铁是一个普通的建筑工人，与儿子周小狄相依为命，生活在简陋的板房中，却无比重视教育，花光所有积蓄送儿子读贵族学校。他们的生活充满了艰辛，但父子俩却始终乐观向上。电影以喜剧的形式展开，通过周小狄与外星生物“长江七号”的奇幻冒险，展现了父子间深厚的亲情以及底层人民对生活的渴望。

然而，电影的背景却充满了悲剧色彩。周小狄一家生活在城市化进程中的边缘地带，他们的生活被现代化的浪潮所忽视。电影中反复出现的拆迁场景，象征着底层人民在城市化进程中被无情抛弃的命运。尽管电影以喜剧的形式呈现，但这种背景却为整个故事奠定了悲剧的基调。

二、经典台词与悲剧内涵

“我们不去偷，我们不去抢，不属于我们的东西我们不会拿，你要努力读书，将来做一个有用的人。”这是电影中周铁对儿子小狄的教诲，也是影片中最具代表性的台词之一。

这句话看似简单，却蕴含着深刻的意义。周铁虽然生活贫困，但他始终坚持正直的做人原则，希望儿子能够通过努力学习改变命运。这种对未来的希望和对现实的无奈形成了鲜明的对比。周铁深知自己无法为儿子提供更好的物质条件，但他希望通过言传身教，让儿子明白，即使生活再艰难，也不能放弃尊严和道德底线。

这句台词也反映了中国底层社会的普遍心态。在现代化进程中，底层人民面临着巨大的生存压力，但他们依然坚守着自己的道德信念，希望通过努力改变现状。这种心态与西方文化中的“美国梦”有相似之处，都体现了底层人民对未来的渴望和对现实的无奈。然而，与“美国梦”不同的是，电影中的周铁和小狄并没有实现他们的梦想，反而在现实的打击下显得更加无力。

三、情感分析：亲情、友情与社会现实

电影中，周铁与儿子小狄之间的亲情是故事的核心。父子俩相依为命，尽管生活贫困，但他们始终乐观向上。这种亲情在电影中得到了充分的展现，例如为了让儿子更好的接受教育，花光一切积蓄送他读贵族学校；省吃俭用，给儿子力所能及最好的生活。这种亲情的温暖与生活的艰辛形成了鲜明的对比，进一步凸显了底层人民的悲哀。 电影中，小狄在学校几乎没有朋友。相反，富家子弟的欺负和老师的冷漠与嫌弃让小狄在学校中备受煎熬。看不起小狄的老师总是对他的成绩和行为进行批评，甚至在小狄被欺负时视而不见。这种冷漠反映了社会对底层人民的偏见和歧视。 然而，电影中也有一位女老师格外照顾小狄。她不仅关心小狄的学习，还经常鼓励他。这种温暖与冷漠形成了鲜明的对比，展现了人性的复杂性。女老师的善良和关爱为小狄的生活带来了一丝光明，但也无法改变他的命运。 电影中的包工头是一个复杂的人物形象。他表面上看起来暴躁，经常对工人发火，但实际上却是一个善良的人。他不仅在周铁坠楼后积极组织抢救，在此之前还一直暗里资助周铁的家庭。这种看似矛盾的行为，反映了人性的多面性。他在底层社会中扮演了一个“守护者”的角色，尽管他的力量有限，但他依然尽力帮助那些需要帮助的人。这种人物形象的设置，不仅丰富了电影的层次，也反映了中国底层社会中的人性光辉。

  在电影中，“长江七号”不仅是小狄幻想中的外星生物，更是他内心深处对美好生活的渴望和对父亲的思念的具象化。在小狄遭受霸凌和父亲坠楼的双重打击下，“长江七号”成为他唯一的心理慰藉。它象征着小狄内心深处对奇迹的期待，以及对父亲的深切思念。通过对比小狄幻想中“长江七号”的神奇力量与现实中的无奈，进一步凸显底层社会的困境。幻想中的“长江七号”可以拯救父亲，而现实中父亲的命运却无法改变。



四、与西方文化的联系：悲剧精神的共鸣

电影《长江七号》的悲剧性与西方文化中的悲剧精神有着共鸣。在西方悲剧中，人物往往因为自身的局限性或社会的压迫而无法实现自己的理想。例如，古希腊悲剧《俄狄浦斯王》中，俄狄浦斯尽管努力逃避命运，但最终却无法摆脱命运的安排。这种悲剧精神在《长江七号》中也得到了体现。周铁尽管努力奋斗，但最终却无法改变自己和儿子的命运。电影的结局，长江七号的回归只是小狄最后的幻想，这种幻想的破灭进一步凸显了底层人民的无力感。此外，这种表达手法与西方文学和电影中常见的幻想与现实交织的主题相似，例如《爱丽丝梦游仙境》或《哈利·波特》系列。

五、结论

电影《长江七号》以喜剧的形式呈现，却蕴含着深刻的悲剧内涵。通过分析电影的经典剧情和台词，我们可以看到中国底层社会在现代化进程中的困境。电影中的亲情、友情等情感虽然温暖人心，但在强大的社会现实面前却显得无力。这种悲剧性与西方文化中的悲剧精神有着共鸣，进一步凸显了电影的深刻性。不同于电影最后一幕的所谓“圆满结局”，实际是一个小男孩再长期的霸凌下，幻想出拯救他的长江七号；而在父亲死后，在自己的幻想中和父亲幸福的生活着，不敢面对结局。长江七号的回归只是小狄最后的幻想，甚至，关于所有长江七号的记忆都只是一个小男孩坐在手术室前绝望的幻想而已，这种幻想的破灭不仅是个人的悲剧，更是整个底层社会的现实悲哀。

专有名词 1.长江七号 CJ7 (The Alien Creature) 2.社会边缘群体 Marginalized Society 3.城市化进程 Urbanization Process 4.社会不平等 Social Inequality 5.底层社会 Underprivileged Society 6.社会现实主义 Social Realism 7.悲剧精神 Tragic Spirit 8.幻想与现实 Fantasy and Reality 9.社会批判 Social Critique 10.现代化 Modernization 11.社会阶层 Social Stratum 12.教育不平等 Educational Inequality 问题： 1.电影《长江七号》中周铁对儿子小狄的教诲反映了什么？ 2.电影中 “长江七号” 这一形象有什么象征意义？ 3.电影《长江七号》的悲剧性与西方文化中的悲剧精神有何共鸣？

答案： 1.反映了周铁虽生活贫困但坚持正直做人原则，希望儿子通过努力学习改变命运，体现了中国底层社会普遍坚守道德信念、渴望改变现状的心态，同时这种对未来的希望和对现实的无奈形成鲜明对比。 2.“长江七号”不仅是小狄幻想中的外星生物，更是他内心深处对美好生活的渴望和对父亲的深切思念的具象化。它象征着小狄对奇迹的期待，以及在困境中对温暖和希望的渴望。在电影中，“长江七号”成为小狄唯一的心理慰藉，它所代表的奇迹和温暖，与现实中的无奈和困境形成了强烈对比，进一步凸显了底层社会的悲哀和无奈。 3.在西方悲剧中，人物常因自身局限性或社会压迫无法实现理想，如《俄狄浦斯王》。《长江七号》中周铁努力奋斗却无法改变自己和儿子的命运，电影结局长江七号回归是小狄幻想的破灭，凸显底层人民无力感，这与西方悲剧精神相呼应，且其表达手法与西方文学和电影中幻想与现实交织的主题相似。

参考文献 1.周星驰. 长江七号 [M]. 中国：星辉公司，2008. 2.张艺谋. 英雄 [M]. 中国：张艺谋工作室，2002. 3.王晓明. 中国电影中的社会现实 [J]. 电影艺术，2010(3): 45-52. 4.阿里斯托芬. 鸟 [M]. 希腊：阿里斯托芬，公元前414年. 5.索福克勒斯. 俄狄浦斯王 [M]. 希腊：索福克勒斯，公元前429年

我在此保证，我没有使用AI的帮助来写这篇课程的期末论文。

https://bou.de/u/wiki/User:Hu_Xiuhao#Final_Paper 金庸武侠小说鉴赏 Appreciation of Kung Fu Stories written by Jinyong

AI use

To help me with my final paper, I used the following AI chatbot: Kimi I used the following tip:Please help me translate it. 【只一念偏差，终以仙坠魔】 周芷若，是《倚天屠龙记》中的重要角色，峨眉派弟子，第四代掌门，师承灭绝师太。出尘如仙，武学天资卓绝，是金庸笔下一个极富传奇色彩的女性角色。 周芷若小时遭元军追杀，被张三丰搭救，与少年张无忌在汉水河畔邂逅，对张无忌有喂饭之恩，后被张三丰送至峨眉派。 成年后，与张无忌重逢并互生爱慕，定下婚约。为了完成灭绝师太的心愿，夺回倚天剑和屠龙刀，杀害张无忌表妹殷离（即珠儿，其实未死），嫁祸给蒙古郡主赵敏。 与张无忌成婚之际，被赵敏用谢逊毛发而使婚礼生变。芷若于是和无忌决裂，前往峨眉苦练武功。 在屠狮大会上，张无忌念旧情，让周芷若以速成的九阴白骨爪夺得天下第一。与张无忌共同攻打少林金刚伏魔圈，为了灭口，欲杀害金毛狮王谢逊，被杨过后人古墓派黄衣女子阻止，与张无忌留下约定后飘然离去。 在张无忌与赵敏双飞之前，告诉无忌与自己有约定，不能和赵敏拜房成亲。张无忌深深思考，回顾了四个想嫁给他的女人。芷若也于此，终是结局了。 初时的芷若秀若芝兰，温婉斯文，后期的芷若清逸如仙，冰雪出尘之姿中带有威严仪态，气震数千豪杰。 周芷若原与张无忌青梅竹马，更对张无忌有喂饭之恩，如果长大后初次重逢，周芷若能够抓住机会，对无忌真心实意，没有拔倚天剑刺向无忌，奈何赵敏再怎么妙语连珠、慷慨大方，张无忌又怎会抛弃芷若，而心向敏妹呢？ 如果说，小昭对无忌爱得无私，珠儿对无忌爱得任性，赵敏对无忌爱得惊艳，那芷若对无忌爱得只能算作心生。 周芷若对张无忌的爱，有真心并不假，但这些爱中，又掺杂了一些门派之间的目的，如果张无忌是平凡人，那么芷若和赵敏中选择，定时芷若为佳，赵敏对张教主慕名而来，而周师妹和无忌却是青梅竹马。可周芷若做不到纪晓芙对杨逍那般爱得忠贞不渝、生死不离，那么故事的结局便指向了无忌和敏妹比翼双飞，而芷若只能沦为女配，潇洒独行。 这就是周芷若，不说悲情，却也不幸福；不说狭隘，却也不侠义。如此传奇女子，只因一念之差，便错过真爱，也因此褒贬不一。 张无忌放弃了江湖与江山，他把幸福给了赵敏，却把牵挂给了小昭，把漂泊给了蛛儿，把憾恨给了芷若…… 杨过和小龙女最终做了神仙眷侣，也许他知道，也许他不知道，也许他装作不知道，程英和陆无双为他负尽青春抛尽韶华、郭襄为他天涯思君念念不忘。也许他记得，也许他不记得，曾经有一个叫公孙绿萼的姑娘把一生停驻在他一刹那的目光里。而他所能给的，也只能是一曲清箫、三枚金针或者某一刻的眷顾而已…… 这世间，太少的相濡以沫，太多的相忘江湖...... 然后一切消失了，然后我们终于明白，金庸小说的曼妙之处，就在于此，虽为武侠，却也谈情爱，虽谈情爱，却不低俗，意境在字里行间创造出来，满是浪漫充斥其中。多看几遍，作为另一个世界的旁观者，最终就会明白，幸福是一种多么玄妙，多么脆弱的东西。 Translation:Zhou Zhiruo is a significant character in The Heaven Sword and Dragon Saber. As a disciple of the Emei Sect and its fourth-generation leader, she was a student of Master Miejue. With a transcendent beauty and exceptional martial arts talent, she is an extremely legendary female character created by Jin Yong. When Zhou Zhiruo was young, she was pursued and attacked by the Yuan army. She was rescued by Zhang Sanfeng and met the young Zhang Wuji by the Han River, where she once fed him. Later, she was sent to the Emei Sect by Zhang Sanfeng. As an adult, she reunited with Zhang Wuji and they fell in love with each other, even becoming engaged. In order to fulfill Master Miejue's wish of retrieving the Heaven Sword and the Dragon Saber, she killed Zhang Wuji's cousin Yin Li (also known as Zhu'er, who actually didn't die) and framed the Mongolian princess, Zhao Min. On the day of her wedding to Zhang Wuji, Zhao Min used Xie Xun's hair to cause a disruption in the ceremony. Zhiruo then broke up with Wuji and went to Emei to diligently practice martial arts. At the Lion-Slaying Conference, out of old feelings, Zhang Wuji allowed Zhou Zhiruo to win the title of the best martial artist in the world with the hastily learned Nine Yin Bone Claw. Together with Zhang Wuji, she attacked the Shaolin Vajra Demon-Subduing Circle. In order to silence people, she attempted to kill the Golden-Haired Lion King Xie Xun but was stopped by a yellow-robed woman from the Ancient Tomb Sect, who was a descendant of Yang Guo. After leaving a promise with Zhang Wuji, she left gracefully. Before Zhang Wuji flew away with Zhao Min, Zhiruo told Wuji that they had a promise and he couldn't consummate his marriage with Min. Zhang Wuji deeply pondered and reviewed the four women who wanted to marry him. Zhiruo was also included in this, and that was the end of her story. At first, Zhiruo was as beautiful as orchids and gentle and refined. Later, she became elegant and ethereal, with a majestic demeanor that could awe thousands of heroes. Zhou Zhiruo and Zhang Wuji were childhood sweethearts, and she once fed him. If she had been able to seize the opportunity when they first met as adults and sincerely loved Wuji without pulling out the Heaven Sword to stab him, no matter how eloquent and generous Zhao Min was, how could Zhang Wuji have abandoned Zhiruo and been attracted to Min? If Xiao Zhao's love for Wuji was selfless, Zhu'er's love for Wuji was willful, and Zhao Min's love for Wuji was stunning, then Zhiruo's love for Wuji could only be described as a mere infatuation. Zhou Zhiruo's love for Zhang Wuji was genuine, but it was also mixed with the goals of the sect. If Zhang Wuji had been an ordinary person, then between Zhiruo and Min, Zhiruo would definitely have been the better choice. Zhao Min came to Wuji because of his reputation, while Zhiruo and Wuji were childhood sweethearts. However, Zhou Zhiruo couldn't love as loyally and undyingly as Ji Xiaofu loved Yang Xiao, so the story's ending pointed to Wuji and Min flying together, while Zhiruo could only be a supporting character and wander alone. This is Zhou Zhiruo. She is neither tragic nor happy; neither narrow-minded nor chivalrous. Such a legendary woman, just because of a deviation of a thought, missed true love and thus received mixed reviews. Zhang Wuji gave up the 江湖(jianghu) and the throne. He gave happiness to Zhao Min, concern to Xiao Zhao, wandering to Zhu'er, and regret to Zhiruo... Yang Guo and Xiao Longnü eventually became a divine couple. Maybe he knew, maybe he didn't know, maybe he pretended not to know that Cheng Ying and Lu Wushuang sacrificed their youth and beauty for him, and Guo Xiang yearned for him endlessly. Maybe he remembered, maybe he didn't remember that there was once a girl named Gong Sun Lv'e who stopped her whole life at a moment of his glance. And all he could give was a flute of pure music, three golden needles, or a moment of favor... In this world, there is too little of each other's help in difficulty and too much of forgetting each other in the rivers and lakes... And then everything disappeared, and then we finally understood that the charm of Jin Yong's novels lies in this. Although it is a martial arts novel, it also talks about love. Although it talks about love, it is not vulgar. The artistic conception is created in the words, full of romance. The more you read, as an observer of another world, you will finally understand that happiness is such a mysterious and fragile thing.

https://bou.de/u/wiki/User:Wu_Jincheng#Final_Paper 二次元文化 ACG Culture

ACG Culture 二次元文化 202330092010 吴金诚 Wu Jincheng

Abstract

This article delves into the emergence and expansion of ACG culture, shedding light on its distinctive attributes and the ways in which it has captivated the interest of the youth. Through an examination of its development in China and Japan, the article underscores the cultural disparities and their ramifications for consumers. Furthermore, it explores the benefits and hurdles associated with ACG culture, offering insights into its future trajectory and the significance of fostering sustainable growth.Keywords: ACG culture, secondary dimension culture, cultural differences, challenges and opportunities, future development

1.Introduction

In the wake of the internet's swift evolution, ACG culture has materialized and swiftly permeated various facets of modern culture. ACG, an acronym for "Animation, Comic, and Game," symbolizes a unique cultural phenomenon that has garnered significant traction among the youth. In China, the ACG culture market has witnessed remarkable growth, amassing a substantial fan base. Its influence has transcended the cultural sphere, permeating broader societal dimensions. Against this backdrop, exploring the characteristics of ACG culture and its ramifications for Chinese youth becomes paramount. Additionally, juxtaposing ACG culture in China and Japan unveils its global dispersion and mutation.

2.The Current State of ACG Culture in China and Comparison with Japan

ACG culture originated in Japan and has gradually spread to China. Japan, the cradle of ACG culture, has a long history of hosting comic exhibitions and game conventions. Since the early 20th century, Japan's manga and anime industries have gradually emerged and swiftly developed post-World War II. Astro Boy by Osamu Tezuka established the foundation for Japan's anime industry. As technology advanced, the production quality of anime and manga improved, and the gaming industry rose in the 1980s. Nintendo's Super Mario and The Legend of Zelda achieved global success, further driving the development of ACG culture.

ACG culture has flourished in China, expanding into animation production, comic creation, game development, and the sale of derivative products. Backed by government policies, China's ACG industry has given rise to exceptional original works and influential IP images, such as "Ne Zha: The Rise of a Legendary Hero." ACG culture in China is tightly interwoven with internet technology, with online platforms becoming pivotal channels for disseminating ACG works, offering a space for creators and enthusiasts to interact and create.China has also witnessed the rise of offline ACG events, such as comic exhibitions and game conventions, which have become vital platforms for fans to gather and celebrate their shared interests.These events not only strengthen the sense of community among enthusiasts but also inject new vitality into the cultural market. The derivative products, often referred to as "gu zi" by enthusiasts due to their similarity to the English word "goods," have become an integral part of the ACG culture, with dedicated stores and exhibitions catering to this niche market.

3.The Advantages and Challenges of ACG Culture

ACG culture offers a vast creative space that inspires creators' imagination. Through rich storylines, unique character settings, and exquisite visuals, it attracts audiences and players. It meets the demand for personalized and diverse culture among the youth, providing a unique space for entertainment and social interaction. This has given rise to a unique social culture where young people can connect with like-minded peers.

However, ACG culture faces challenges such as the potential for violent and vulgar content in some works, which may negatively impact adolescents' mental health. The ACG industry also struggles with issues like intellectual property protection, talent shortages, and fierce market competition. In China, the commercialization of ACG culture is relatively underdeveloped compared to the United States. There are gaps in brand building, market promotion, and industrial chain integration.

4.Future Prospects and Conclusion

Looking ahead, with the continuous advancement of internet technology and frequent global cultural exchanges, ACG culture is expected to have broader development prospects. China's ACG industry will enhance its original capabilities, leverage local cultural resources, and create distinctive Chinese ACG brands. ACG cultures in China and Japan will influence and learn from each other, collectively promoting the prosperity of global ACG culture.

In summary, ACG culture, as an emerging subculture phenomenon, has profoundly impacted contemporary society. It has enriched people's spiritual and cultural lives and injected new vitality into the cultural industry. To achieve sustainable growth in ACG culture, it requires the joint efforts of governments, enterprises, creators, and society. By strengthening the guidance and regulation of ACG culture, maximizing its advantages, and addressing its challenges, ACG culture can shine globally as a significant force in the cultural industry.

Terms and Expressions • ACG Culture Secondary Dimension Culture • Secondary Dimension 二次元 • Animation 动画 • Original Works 原创作品 • Intellectual Property Protection 知识产权保护 • Commercialization 商业化 • Cross-media Integration 跨媒体整合 • Comic Exhibition 漫展 • Goods 谷子 • Derivative Products 周边产品

Questions

1. What are the main characteristics of ACG culture? What impact has it had on Chinese youth? 2. What are the differences in the development of ACG culture between China and Japan? 3. What are the advantages and challenges of ACG culture? 4. How can the sustainable development of ACG culture be promoted?

Reference Answers

1.ACG culture is characterized by its rich storytelling, unique character settings, and exquisite visuals. It has captivated Chinese youth by offering a space for entertainment and social interaction, fostering a unique social culture where young people can connect with like-minded peers. 2. Japan is the origin of ACG culture, with a long history of comic exhibitions and game conventions. China has adopted and adapted this culture, integrating it with internet technology and creating original works that resonate with local audiences. 3. Advantages include a vast creative space, personalized and diverse culture, and a unique social culture. Challenges include potential violent and vulgar content, intellectual property protection issues, talent shortages, and market competition. 4. Sustainable development can be promoted through joint efforts of governments, enterprises, creators, and society. Strengthening guidance and regulation, maximizing advantages, and addressing challenges are key to fostering a sustainable growth environment for ACG culture.

References

[1] ACG culture - Baike Encyclopedia [EB/OL]. https://baike.baidu.com/item/ACG/33795, 2024-01-30. [2] Deep Exploration of the Definition and Explanation of ACG Culture - Hanlin International Education [EB/OL]. https://liuxue.hanlin.com/p/12680.html, 2024-07-26. [3] Primary Exploration on the Differentiation of the Animation Industry Models of China, Japan and America in the Context of the Two-dimensional Culture [EB/OL]. https://www.atlantis-press.com/article/55910395.pdf. [4]浅谈ACG文化的深层内涵与影响 - 翰林国际留学 [EB/OL]. https://liuxue.hanlin.com/p/12354.html, 2024-07-25. [5] 熊韵秋.ACG亚文化对当代大学生价值观取向的影响探究 [J]. 大众文艺, 2017 (07): 255-256.

AI use

To help me with my final paper, I used the following AI chatbot: Kimi I used the following tips: 1. I will write a paper on ACG Culture as an English textbook for the outline of Chinese culture, please list some literature that may be helpful to me for reading (before writing) and provide me with an outline 2. Please help me polish my essay (Is the language fluent?.Is the logic reasonable? Does the final paper meet the format requirements? ） 3.Please help me translate

As a result, I found the following issues: 1.The AI's reply did not distinguish the relationship between Chinese ACG culture and Japanese ACG culture 2.AI’s translation of some terms is not accurate

I made adjustments with the following: Through my own understanding of the two-dimensional culture as a fan, and researching materials on the Internet on my own, I reviced the outline and terms trasnlation.In addition,I added content (such as Comic Exhibition, Goods) and finally completed the thesis.

二次元文化

摘要

本文探讨了二次元文化的兴起及其对现代社会的影响，介绍了其独特的特征和表现形式，分析了其在中国与日本的发展差异，并指出了二次元文化所面临的挑战与机遇。关键词：二次元文化；二次元；文化差异；挑战与机遇；未来发展

一、引言

随着互联网的迅猛发展，二次元文化应运而生，并迅速渗透到现代文化的各个层面。二次元文化是“动画（Animation）、漫画（Comic）、游戏（Game）”的缩写，作为一种独特的文化现象，它在年轻人中引起了极大的关注。在中国，二次元文化的市场规模不断扩大，吸引了众多忠实粉丝，其影响力已超越文化领域，延伸至更广泛的社会层面。在此背景下，研究二次元文化的特点及其对中国青年的影响显得尤为重要。同时，对比中日两国的二次元文化差异，可以更好地理解其在全球范围内的传播与演变。

二、二次元文化的现状与中国和日本的比较

二次元文化起源于日本，并逐渐传播到中国。日本作为二次元文化的发源地，长期以来一直举办漫画展览和游戏展。自20世纪初以来，日本的漫画和动画产业逐渐兴起，并在二战后迅速发展。手冢治虫的《铁臂阿童木》为日本动画产业奠定了基础。随着科技的进步，动画和漫画的制作质量不断提高，游戏产业在20世纪80年代崛起。任天堂的《超级马里奥》和《塞尔达传说》在全球取得了巨大成功，进一步推动了二次元文化的发展。

二次元文化在中国蓬勃发展，涵盖了动画制作、漫画创作、游戏开发以及衍生产品销售等多个领域。在政府政策的支持下，中国的二次元产业不断涌现出优秀的原创作品和具有影响力的IP形象，如《哪吒之魔童降世》。中国的二次元文化与互联网技术紧密结合，网络平台成为二次元作品传播的重要渠道，为创作者和爱好者提供了广阔的交流空间和创作平台。

中国还出现了线下二次元活动，如漫展和游戏展，这些活动已成为粉丝聚集和庆祝共同兴趣的重要平台。这些活动不仅加强了爱好者之间的社区感，还为文化市场注入了新的活力。二次元的周边产品，爱好者们常称之为“谷子”（因与英语“goods”谐音），已成为二次元文化的重要组成部分，专门的店铺和展览满足了这一细分市场的需求。

三、二次元文化的优势与挑战

二次元文化为创作者提供了广阔的创作空间和自由度，能够激发他们的想象力和创造力。无论是动画、漫画还是游戏，都可以通过丰富的故事情节、独特的角色设定和精美的画面吸引观众和玩家。同时，二次元文化能够满足年轻人对于个性化、多样化文化需求的追求，为他们提供了一个独特的娱乐和社交空间。在这个空间里，年轻人可以与志同道合的伙伴交流分享，结交朋友，甚至形成一种独特的社交文化。

然而，二次元文化也面临一些挑战。例如，部分二次元作品可能存在暴力、低俗等不良内容，对青少年的身心健康产生一定的负面影响。此外，二次元产业在发展过程中还面临着知识产权保护、人才短缺、市场竞争激烈等问题。尤其是在中国，二次元文化的商业化程度相对较低，与美国等发达国家相比，在品牌建设、市场推广和产业链整合等方面还存在一定的差距。

四、未来展望与结论

展望未来，随着互联网技术的不断进步和全球文化交流的日益频繁，二次元文化有望迎来更广阔的发展空间。一方面，中国的二次元产业将继续加强原创能力，挖掘本土文化资源，打造具有中国特色的二次元品牌；另一方面，中日等国的二次元文化将在相互交流与借鉴中不断发展，共同推动全球二次元文化的繁荣。

总之，二次元文化作为一种新兴的次文化现象，已经对当代社会产生了深远的影响。它不仅丰富了人们的精神文化生活，还为文化产业的发展注入了新的活力。然而，要实现二次元文化的可持续发展，需要政府、企业、创作者和社会各界共同努力，加强对二次元文化的引导和规范，充分发挥其优势，克服其面临的挑战，让二次元文化在全球范围内绽放更加绚烂的光彩。

术语和表达 • ACG Culture 二次元文化 • Secondary Dimension 二次元 • Animation 动画 • Original Works 原创作品 • Intellectual Property Protection 知识产权保护 • Commercialization 商业化 • Cross-media Integration 跨媒体整合 • Comic Exhibition 漫展 • Goods 谷子 • Derivative Products 周边产品

问题

1. 二次元文化的主要特点是什么？它对中国青年产生了什么影响？ 2. 中国的二次元文化与日本的二次元文化在发展上有什么不同？ 3. 二次元文化的优势和挑战是什么？ 4. 如何促进二次元文化的可持续发展？

参考答案

1．二次元文化的主要特征包括丰富的故事情节、独特的角色设定和精美的视觉效果。它通过提供娱乐和社交的空间，吸引了中国青年，并促进了志同道合的年轻人之间的交流，形成了独特的社交文化。 2. 日本是二次元文化的发源地，有着悠久的漫画展览和游戏展的历史。中国则在引进这一文化的基础上进行了本土化的适应和发展，将其与互联网技术相结合，并创作出了符合本土观众口味的原创作品。 3. 二次元文化的优势在于它为创作者提供了广阔的创作空间，满足了年轻人对个性化和多样化文化的需求，并形成了独特的社交文化。面临的挑战包括可能存在的暴力和低俗内容、知识产权保护问题、人才短缺和市场竞争。 4. 要促进二次元文化的可持续发展，需要政府、企业、创作者和社会各界的共同努力。加强引导和规范，充分发挥其优势，并克服面临的挑战，是为二次元文化创造可持续发展环境的关键。

参考文献

[1] ACG文化 - 百度百科[EB/OL]. https://baike.baidu.com/item/ACG/33795, 2024-01-30. [2] 深入探讨ACG文化的定义与解释 - 翰林国际留学[EB/OL]. https://liuxue.hanlin.com/p/12680.html, 2024-07-26. [3] 二维文化视角下中日美动画产业模式差异的初步探讨[EB/OL]. https://www.atlantis-press.com/article/55910395.pdf. [4] 浅谈ACG文化的深层内涵与影响 - 翰林国际留学[EB/OL]. https://liuxue.hanlin.com/p/12354.html, 2024-07-25. [5] 熊韵秋.ACG亚文化对当代大学生价值观取向的影响探究[J]. 大众文艺, 2017 (07): 255-256.

AI使用

为了帮助我完成期末论文，我使用了以下AI聊天机器人：Kimi 我使用了以下提示： 1.我将写一篇有关ACG Culture（二次元文化）的论文作为中国文化概要的英语教材，请列举一些可能对我有帮助的文献以供阅读（撰写之前），并为我提供大纲 2.请帮助我对我的文章进行润色（语言是否通顺？逻辑是否合理？是否满足论文格式要求？） 3.请帮助我完成翻译

结果我发现了以下问题： 1.AI的回复并未能够很好的分清中国二次元文化与日本二次元文化的关系 2.AI对部分术语的翻译不够准确 我通过以下措施进行了调整： 通过我自己作为粉丝对二次元文化的了解，并自行在网上搜集资料，重新修改了大纲和术语翻译，并添加了内容（如漫展，谷子）最后完成了论文

https://bou.de/u/wiki/User:Liu_Wenziqin#Final_Paper 蔡国强 Cai Guoqiang,a Chinese Fireworks artist

Abstract

Gunpowder, as one of the "Four Great Inventions" of ancient China, is an indispensable element in traditional Chinese culture and has been widely used to make fireworks to celebrate happy events and festivals throughout history. Today, in Cai Guoqiang's hands, gunpowder and fireworks have transcended this formal constraint and become a unique form of Chinese artistic innovation in the constantly evolving art of blasting.In addition, in the gunpowder blasting creations displayed by Cai Guoqiang after going abroad, there are also many manifestations of traditional Chinese elements. This enables the traditional historical field of China to blossom in the context of Western culture. Eastern and Western cultures engage in dialogue through repeated explosions, bursting forth with an artistic atmosphere that is quite culturally confident and embodies the philosophy of Eastern culture.

About the Artist

Cai Guoqiang, fireworks master, contemporary artist. He was trained in stage design at the Shanghai Theatre Academy in the early 1980s. From December 1986 to September 1995, he sojourned in Japan. Cai has resided and worked in New York since 1995.Over three decades, Cai has had numerous solo exhibitions in major art museums around the world.

Creative Concepts

In the early 1980s, Cai Guoqiang began to create art with gunpowder. One day, he accidentally exploded at home and got out of control. His grandmother covered the burning smoke with a linen cloth. The smoke left the cloth with beautiful and ever-changing textures. It was then that he realized: "Doing art is not only about being able to light a fire, but also about being able to put out a fire." For him, gunpowder was the pursuit of art about destruction and regeneration, and that extremes lead to reverse.

From the early 1970s to the late 1980s, many feng shui philosophies persisted in various cities and rural areas of China. Even many feng shui cultures were integrated into local customs and habits, forming a unique understanding of the relationship between people and the environment. Cai believed in feng shui rather than fortune-telling. His works all blatantly express a grand core idea, that is, the idea of "Chinese culture".[1]

Also,Cai Guoqiang takes "human nature in the universe" and "the cosmic nature of human beings" as the foundation of his creation, attempting to transcend the limits of matter and time and space, and also seeking the truth of the eternal connection between humans and the universe. Gradually, he has come to understand that the essence of gunpowder, just like the power and spirit that humans initially possessed in their evolution, is like the big bang at the moment of the universe's birth. Cai Guoqiang began to develop a series of Project for Extraterrestrials, adopting a cosmic perspective and imagining aliens as the audience. He hopes to convey messages to aliens through explosions and prove to the universe that gunpowder is not only used for destruction.

Sky Ladder

In 1994, Cai broadened the possibilities of gunpowder again. He wanted to make a sky ladder connecting the earth to the universe by using fireworks. The idea was inspired by a legend from his childhood that if a person stood at an altitude more than 500 meters, they would be able to touch the clouds.At that time, there was a legend that the Great Wall was the only building that can be seen from space.Cai used 600 kilograms of gunpowder to extend by 10000 meters on the basis of the original length of the Great Wall, and he tried to talk to space through such an act.

It took 21 years for the blasting project Sky Ladder, which had failed to be carried out in the UK, Shanghai and Los Angeles, to be finally realized in his hometown - Quanzhou. Early that morning, Cai Guoqiang lit a fuse from the beach. Instantly, the flames burst from the bottom of the sky ladder upwards, as if a burning ladder had risen from the ground and crossed the sea surface. The flames gradually died out from bottom to top, drawing an elegant arc in the air for about a minute. The fireworks symbolizing hope engaged in a silent dialogue with the people watching with their heads held high, welcoming the dawn.

The ladder is a reminder of his childhood and an account for three failures in 21 years.More importantly, it's a gift for his 100-year-old grandmother.The national context and cultural identity created by Cai Guoqiang in Sky Ladder emphasize the regionality, uniqueness and significance of traditional Chinese culture. He presents the long-standing and brilliant cultural heritage and its aesthetic value to the audience through his artworks. This dual presentation of national context and cultural identity endows his works with profound cultural implications and enlightenment, providing the contemporary public with an opportunity to deeply touch and appreciate traditional Chinese culture and humanistic heritage.[2]

When the Sky Blooms with Sakura

In mid-June 2023, in Iwaki, Fukushima Prefecture, which was severely hit by the 311 Great Earthquake in Japan, a daytime fireworks display When the Sky Blooms with Sakura was held. The work consists of six chapters, including Horizon - White Chrysanthemums, White Waves, Black Waves, Memorial Monument, When the Sky Blooms with Sakura, and The Scroll of Sakura. [3]

The entire fireworks explosion lasted about 30 minutes, using nearly 40,000 fireworks. The site spanned 400 meters and was 130 meters high. Cai Guoqiang used his expertise in fireworks and smoke as the medium to pray for the rest of the souls of the victims of the 311 earthquake in Japan and the COVID-19 pandemic.

In response, Cai Guoqiang said, "Nowadays, the world is confronted with predicaments such as the pandemic, economic recession, and de-globalization, and international and cultural conflicts are becoming increasingly acute. I use the image of cherry blossoms blooming all over the sky to express that the friendship with the residents of Iwaki transcends politics and history, and conveys the meaning of faith and hope."[4]

Conclusion

In the perception of most people, art may always be separated from reality, or the purpose of art is to escape reality and pursue an ideal world. But Cai Guoqiang tells us with his stories that art comes from reality, and can serve reality and transform reality. Factors such as hometown memories, ethnic culture and human emotions are interwoven and run through in his creations. What he has always adhered to is to make traditional culture and the real world rely on each other, that is, Chinese traditional culture and contemporary world culture complement each other. Even the blasting art works produced and exhibited in the West reveal Chinese characteristics and cultural style, forming cross-civilization artistic collisions in different environments.[5]

References

[1]陈佳敏,刘爽,胡明清.当代艺术中的“中国方式”探究——以蔡国强的艺术作品创作为例[J].今古文创,2023,(07):95-97.DOI:10.20024/j.cnki.CN42-1911/I.2023.07.028. Chen Jiamin, Liu Shuang, Hu Mingqing. An Exploration of the "Chinese Way" in Contemporary Art: A Case Study of Cai Guoqiang's Artistic Works [J] Modern and ancient cultural and creative products,2023,(07):95-97.DOI:10.20024/j.cnki.CN42-1911/I.2023.07.028. [2]汪大千.蔡国强艺术作品营造的民族语境与文化认同——以作品《天梯》与《梦游紫禁城》为例[J].艺术教育,2023,(09):69-73. Wang Daqian. The National Context and Cultural Identity Created by Cai Guoqiang's Artistic Works: Taking the Works Sky Ladder and Dreaming in the Forbidden City as Examples [J]. Art Education,2023,(09):69-73. [3]Izzy Capulong,When the Sky Blooms with Sakura[J].https://officemagazine.net/when-sky-blooms-sakura [4]PPAPER.專訪｜藝術爆破大師蔡國強CAI GUO-QIANG希望綻放在櫻花滿天的日子[J].https://www.ppaper.net/2069/ PPAPER. Interview | art master CAI GUO QIANG - When the Sky Blooms with Sakura and Hope[J].https://www.ppaper.net/2069/ [5]赵昕玮,程亚鹏.蔡国强爆破艺术中的人文情感探索[J].艺术市场,2024,(07):90-91.Zhao Xinwei, Cheng Yapeng. Exploration of Humanistic Emotions in Cai Guoqiang's Blasting Art [J]. Art Market,2024,(07):90-91.

Terms and Expressions

Gunpowder 火药

Feng shui 风水

fortune-telling 算命

human nature人性

the cosmic nature 宇宙性

Project for Extraterrestrials 《为外星人所作的计划》

Sky Ladder 《天梯》

Quanzhou 泉州（福建省城市）

When the Sky Blooms with Sakura 《樱花满天的日子》

Fukushima Prefecture 福岛县（日本）

Iwaki 磐城（福岛县城市）

Horizon - White Chrysanthemums 《地平线——白菊》

The Scroll of Sakura 《樱花绘卷》

the 311 earthquake in Japan 日本311大地震（2011年日本东北大地震）

Questions

1.What was the main use of gunpowder in ancient China?

2. What are Cai Guoqiang's main creative concepts?

3. What was the source of inspiration for Sky Ladder?

4. What kind of emotions does When the Sky Blooms with Sakura convey about CAI Guoqiang?

5.What are the influences of Cai Guoqiang's works on contemporary Chinese art and culture?

AI Usage Instructions:I hereby guarantee that I did not use the assistance of AI to write the final paper for this course.

蔡国强：中国烟花艺术家

概要

火药作为中国古代“四大发明”之一，是中国传统文化中不可或缺的元素，古往今来多被用于制造烟花来庆祝喜事和节日。而今天，在蔡国强的手中，火药跨越了这一形式约束，在不断发展的爆破艺术中转而成为中国艺术创新的独特形式。除此之外，蔡国强在走出国门后所展示的火药爆破创作中也不乏中国传统元素的体现。这使得中国传统的历史场域在西方文化语境中绽放，东西方文化在一次次的爆破中对话，迸发出一种颇具文化自信和具有东方文化哲学的艺术气息。

人物介绍

蔡国强，烟花大师，当代艺术家。上世纪80年代初，在上海戏剧学院学习舞台设计。1986年12月至1995年9月，旅居日本。自1995年起在纽约居住和工作。三十多年来，蔡先生在世界各大艺术博物馆举办了多次个展。

创作理念

1980年代初，蔡国强开始以火药进行艺术创作，偶然一次他在家中爆破失控，奶奶以麻布盖熄燃烧中的烟火，烟火把布匹熏出了美丽多变的纹理，这时他才理解到：「做艺术不只要会点火，更要会灭火」，对他而言，火药是关于破坏与再生、物极必反艺术的追求。

从20 世纪 70 年代初到 80 年代末，中国的各个城市农村流存了许多风水哲学，甚至许多风水文化都融入了当地的风俗习惯里面，成了一种对人与环境关系的独到理解，蔡国强信风水不信算命，他的作品都赤裸裸地表达了一个宏伟的核心思想，那就是“中国文化 ”思想。

同时，蔡国强以「宇宙中的人性」和「人的宇宙性」为创作基础，企图超越物质和时空的极限，也寻求人和宇宙永恒相连的真理，他逐渐理解到火药的本质，与人类进化起初拥有的力量和精神一样，如同宇宙诞生瞬间的大爆炸。蔡国强开始发展一系列「为外星人做的计划」创作，采取宇宙的视角，假想外星人为观众，他希望透过爆破向外星人传递讯息，向宇宙证明，火药并非只有毁灭的用途。

《天梯》

1994年，蔡国强再次拓宽了火药的可能性。他想用烟花制作一座连接地球和宇宙的天梯。这个想法的灵感来自于他童年时的一个传说，如果一个人站在500米以上的高度，他们就能触摸到云。在那个时候，有一个传说，长城是唯一可以从太空中看到的建筑。蔡用600公斤火药在长城原有长度的基础上延长了10000米，试图通过这样的行为与太空对话。

在英国、上海、洛杉矶都没有成功的爆破项目“天梯”，21年后终于在他的家乡泉州实现。当日清晨，蔡国强在沙滩上点燃引线，火焰瞬间从天梯底部向上燃爆，就好像一架燃烧的梯子从地面升起，越过海面。火焰从下到上逐渐熄灭，在空中划出一道优雅的弧线，持续了大约一分钟。象征着希望的烟花与人们进行了无声的对话，他们高昂着头迎接黎明。

天梯是他童年的回忆，也是他对过去21年里三次失败的交代。更重要的是，这是给他100岁的祖母的礼物。蔡国强在《天梯》中营造的民族语境和文化认同，强调了中国传统文化的地域性、独特性和意义。他通过自己的艺术作品向观众展示了悠久而灿烂的文化遗产及其审美价值。这种民族语境和文化身份的双重呈现，使他的作品具有深刻的文化意蕴和启发性，为当代公众提供了深入接触和欣赏中国传统文化和人文遗产的机会。

《樱花满天的日子》

2023年6月中旬，蔡国强在受到日本311大地震重创的福岛县磐城市，举行白日烟火展演《樱花满天的日子》，作品以六个章节组成，包含「地平线——白菊」、「白浪」、「黑浪」、「纪念碑」、「满天樱花」和「樱花绘卷」。 整场烟火爆破持续约 30 分钟，动用近 4 万枚烟火，场地横跨 400 公尺、高达 130 公尺，蔡国强以他擅长的烟火和烟雾为媒材，为日本 311 大地震和新冠疫情亡灵祈祷安息。 对此，蔡国强表示：「 当下世人面对疫情、经济衰退、去全球化等困境，国际及文化冲突亦日益尖锐。我用漫天樱花开遍的意象，表达与磐城居民的友谊是超越政治与歷史，并传达信念与希望之意。」

结论

在大多数人的感知中，艺术可能总是与现实分离的，或者艺术的目的是逃避现实，追求一个理想的世界。而蔡国强用他的故事告诉我们，艺术来源于现实，可以服务于现实，可以改造现实。故乡记忆、民族文化、人类情感等因素在他的创作中交织、贯穿。他一直坚持的是让传统文化与现实世界相互依存，即中国传统文化与当代世界文化相辅相成。即使是在西方生产和展出的爆破艺术作品，也流露出中国特色和文化风格，在不同的环境下形成了跨文明的艺术碰撞。

参考文献

[1]陈佳敏,刘爽,胡明清.当代艺术中的“中国方式”探究——以蔡国强的艺术作品创作为例[J].今古文创,2023,(07):95-97.DOI:10.20024/j.cnki.CN42-1911/I.2023.07.028.

[2]汪大千.蔡国强艺术作品营造的民族语境与文化认同——以作品《天梯》与《梦游紫禁城》为例[J].艺术教育,2023,(09):69-73.

[3]Izzy Capulong,When the Sky Blooms with Sakura[J].https://officemagazine.net/when-sky-blooms-sakura

[4]PPAPER.專訪｜藝術爆破大師蔡國強CAI GUO-QIANG希望綻放在櫻花滿天的日子[J].https://www.ppaper.net/2069/

[5]赵昕玮,程亚鹏.蔡国强爆破艺术中的人文情感探索[J].艺术市场,2024,(07):90-91.

问题

1.火药在中国古代的主要用途是什么？

2.蔡国强的创作理念主要有哪些？

3.《天梯》的创作灵感来源是什么？

4.《樱花满天的日子》传达了蔡国强怎样的感情？

5.蔡国强的作品对于当代中国艺术文化的影响有哪些？

AI使用说明：我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Yao_Kexin#Final_Paper 中国的拉郎现象：圣黛CP（孙悟空×林黛玉）The "Lalang" Phenomenon in China: The "Sun Wukong × Lin Daiyu" (St. Dai) Couple

The "Lalang" Phenomenon in China: The "Sun Wukong × Lin Daiyu" (St. Dai) Couple 202330092222 姚可欣 Yao Kexin

Ⅰ Abstract

The phenomenon of "Lalang CP" is a subcultural practice rooted in the concept of "CP." Firstly, "CP" originates from the English term "Coupling," initially used in Japanese ACGN (Animation, Comics, Games, Novels) fandoms, meaning "couple" or "paired characters." Secondly, the term "Lalang" means forcibly pairing two unrelated characters, derived from Chinese folk language (Wu Ennan, 2023, 1). Platforms such as Bilibili, known for fan culture, have seen unconventional pairings like Lin Daiyu × Voldemort, Lazy Goat × Ulanara Yixiu, and Lin Daiyu × Sun Wukong. This paper focuses specifically on the "St. Dai CP," combining Sun Wukong from "Journey to the West" with Lin Daiyu from "Dream of the Red Chamber," which represents a significant example of Lalang subculture. The analysis will examine the origins and development of this pairing, reasons behind its explosive popularity, and its cultural impacts.

Ⅱ Origin and Development of St. Dai CP

Lin Daiyu’s earliest Lalang pairing was not with Sun Wukong but rather Voldemort from Western literature. In 2011, after losing a bet, a writer composed a fanfiction story pairing Voldemort and Lin Daiyu titled "From Far Away, For You, the Burial of Flowers." In this story, Voldemort's soul traveled to Lin's mansion, sparking a dramatic cross-cultural romance. The narrative concluded tragically, with Voldemort sacrificing himself to briefly prolong Lin Daiyu’s life. The poignant sentiment, "You wandered the mortal world for thousands of years, only to let me glimpse you one last time," resonated profoundly, symbolizing an East-West fusion reminiscent of the tragic romance in "The Peony Pavilion."

This humorous yet touching scenario sparked criticism of Jia Baoyu’s reliability, prompting internet users to suggest better partners for Lin Daiyu from other literary works. On September 18, 2020, Bilibili content creator "Zixu" launched a video pairing Sun Wukong and Lin Daiyu titled "Marriage of Classics | Buddha Saves Everyone Except Me, I'd Rather Betray Buddha Than You." By 2022, it garnered 8.061 million views, recognized as one of Bilibili’s "85 Must-Watch Videos," and was celebrated as an iconic work of the Lalang genre. The video led to numerous fan creations and a substantial fanbase for "St. Dai," though it was later removed for unspecified reasons.

Since 2020, the "St. Dai" CP has sustained considerable popularity, accumulating over 1.2 billion views on Weibo. Liu Xiao Ling Tong, the actor who portrayed Sun Wukong in the 1986 "Journey to the West" TV series, publicly endorsed the pairing for its creativity, prompting an additional 87,000 related fan-made videos within one week. On June 5, 2025, Douyin, China’s largest streaming platform, saw another viral short video featuring the "St. Dai" CP, accumulating over 2.5 million likes and more than 140,000 comments within five days.

Ⅲ Reasons for the Explosive Popularity of St. Dai CP

Character Appeal

  Firstly, the appeal stems from the contrasting personalities of the characters. Sun Wukong is a powerful and straightforward warrior, known as the "Victorious Fighting Buddha," whereas Lin Daiyu is the delicate and emotionally introspective "Fairy of Xiao Xiang." This pairing, characterized as a straightforward man paired with a sensitive woman, resonates strongly. Sun Wukong’s unwavering sincerity alleviates Lin Daiyu’s habitual melancholy. In popular clips, when Daiyu cries, Sun Wukong boldly intervenes: "Don't cry! Just tell me what's wrong. Master, I can’t bear seeing someone cry. If she's wronged, I'll sort it out!" Sun Wukong thus emerges as a better emotional partner than Jia Baoyu. Additionally, Daiyu’s fragile health contrasts with Sun Wukong’s strength and magical abilities, enabling him to protect and care for her, even defying death by removing her name from the Book of Life and Death. Their pairing is perceived as fitting due to their comparable iconic status—Sun Wukong as the quintessential male protagonist and Lin Daiyu as the archetypal female protagonist in classical Chinese literature, highlighting their compatibility.The evolution of character interpretation reflects the spirit of the era and embodies the collective emotional structure in a time of social transformation (Sun Ping 2020, 1).

Breaking the Sanctity of Classics

  Contemporary youth actively reinterpret classical texts, innovating creatively and integrating tradition into modern life in novel ways. This unconventional pairing satisfies curiosity and symbolizes the classic "grass and stone" affinity—Lin Daiyu as the Crimson Pearl Flower spirit and Sun Wukong as the stone used to mend the heavens. Fans humorously speculate Lin Daiyu might have originally mistaken her destined stone. Importantly, creators maintain integrity by carefully recontextualizing original dialogues without distorting Sun Wukong’s noble character or Lin Daiyu’s intelligent melancholy.

Emotional Projection and Compensation

  The popularity of "St. Dai CP" reflects modern youth’s emotional needs. Fan fiction frequently serves as a psychological outlet, compensating for deficiencies in real-life relationships. “However, beyond practicality, writing fanfiction is also a helpful way for people to understand their inner emotions, whether positive or negative…” (Aynur Akpinar 2006, 23).Sun Wukong’s unconditional devotion symbolizes ideal romantic relationships desired by contemporary audiences. This psychological mechanism parallels Japan’s Otome culture, wherein virtual relationships fulfill emotional needs unmet by reality.

Platform Catalysis

  In recent years, with the increasing integration of literature, film, and online media, the cross-media dissemination and widespread popularity of literary classics have become a significant phenomenon. This trend continues to give rise to new artistic forms while also bringing classic literary works to a broader audience, revitalizing them with renewed vitality (Zhang & Hong 2025, 1). Digital platforms like Douyin and Bilibili, with their massive user bases and powerful dissemination capabilities, use algorithm-based recommendations tailored to user interests to rapidly present St. Dai CP content to potential viewers, accelerating its spread. These platforms also offer rich interactive features such as comments, bullet screens, and likes, fostering a community atmosphere that encourages communication and sharing among users. This transforms viewers from passive consumers into active participants in dissemination, with user-driven discussion and derivative creations further boosting the topic's visibility and triggering viral spread.

Ⅳ Impact of the St. Dai CP Phenomenon

Positive Effects

  The "St. Dai CP" significantly enhances young audiences’engagement with classical literature. Entertaining reinterpretations provoke renewed interest in "Journey to the West" and "Dream of the Red Chamber," broadening creative boundaries and attracting commercial investment due to its popularity.

Potential Controversies and Reflection

  Some scholars criticize the simplification of Sun Wukong’s rebellious spirit into a mere romantic protector and the reconfiguration of Lin Daiyu’s poetic tragedy into a damsel-in-distress narrative. Literary critic Li Jingze (2023) argues such reinterpretations diminish the core themes of rebellion against authority embedded in the original texts. This debate reflects broader tensions between "disenchanting classics" and "guarding cultural memory" in the digital era. Successful reinterpretations must balance innovation with fidelity to original narratives, avoiding reckless distortions.

Ⅴ Conclusion

In the digital age, the artistic subjects we encounter no longer exist solely in tangible physical spaces, but are also increasingly active and comprehensible to the public within digital networks and social platforms (Sean Lowry 2024, 1). Creative reinterpretations like "St. Dai CP" reflect young people's innovative approaches to classic narratives. While digital platforms play a crucial role in popularizing such trends, maintaining a respectful balance between innovation and authenticity is essential for preserving and revitalizing traditional cultural works.

Terms and Expressions

拉郎CP Lalang CP 同人小说 Fan fiction 跨次元组合 Cross-dimensional combination 角色形象 Character image 经典文化 Classical culture 情感投射 Emotional projection 二次创作 Secondary creation 平台算法 Platform algorithm

Question

1. What does "Lalang CP" mean? 2. Why are Sun Wukong and Lin Daiyu popular among netizens? 3. Which platform initially popularized the "St. Dai CP"? 4. From which two classic literary works do Sun Wukong and Lin Daiyu come? 5. What are generally considered the positive effects of the popularity of "St. Dai CP"?

References

[1] Zhang Yuxi 张宇晰, Song Hongyan 宋红岩. (2025). 为文学作品插上影视改编的翅膀——评《文学经典跨媒介传播的观念演变研究》 \[Giving Literary Works Wings through Film Adaptation – A Review of The Conceptual Evolution in Cross-media Dissemination of Literary Classics]. 传媒 Media (05): 97–98. [2] Sun Ping 孙平, Yang Zi 杨梓. (2020). 不同时代动画电影中孙悟空形象的变迁 \[The Transformation of Sun Wukong’s Image in Animated Films across Different Eras]. 电影评介 Film Review (20): 82–85. DOI:10.16583/j.cnki.52-1014/j.2020.20.022. [3] Wu Ennan 吴恩楠, Jiang Fatian 姜发田. (2022). 拉郎CP：Z世代的缝接想象、主体交往与赛博格化 \[Lalang CP: Z Generation’s Patchwork Imagination, Subject Communication, and Cyborgization]. 网络文化研究 Internet Culture Studies (00): 179–197. [4] He Shengli 何胜莉. (2021). 那些年我们嗑过的神仙CP——亚文化视野下的中国神话故事拉郎配心理考察 \[The Divine CPs We Once Shipped: A Subcultural Perspective on the Psychological Study of Lalang Pairings in Chinese Mythology]. 神话研究集刊 Journal of Mythology Studies (01): 197–214. [5] Sean Lowry, Adam Geczy, Chen Yun. Digital Images: Cross-media Forms of Art and Their Methodological Studies \[J]. Art Observation, 2024, (11):75-82. [6] Akpinar, A., & Wennerström, M. Emotional Ownership and the Fan Fiction Community \[R]. May 2006. Supervisors: Svensson P., Östberg J.

I hereby guarantee that I have not used the help of AI to write my final paper in this course.

中国的拉郎现象：圣黛CP（孙悟空×林黛玉）

一、摘要

“拉郎CP”是根植于“CP”理念的“拉郞”亚文化实践。首先，CP一词源自于英文“Coupling”,最早运用于日本ACGN(动画漫画、游戏、小说)同人文化圈之中，意指“情侣”或“配成的一对”。其次，“拉郎”的含义是“拉郞配”,其名词来源于中国民间的俗语，指将本没有任何相关关系的人物强行配对(Wu Ennan 2023，1)。以同人文化的阵地B站为例，林黛玉X伏地魔、懒羊羊X乌拉那拉宜修、林黛玉X孙悟空等别具一格的CP层出不穷。而本文所讲述的“圣黛CP”则是《西游记》中的孙悟空与《红楼梦》中林黛玉的组合，该cp是拉郎文化中的代表性。接下来，笔者将具体阐述该cp的起源与发展，爆火原因，以及影响，从这三个层面进行分析。

二、圣黛CP的起源与发展

林黛玉最早的拉郎cp其实并不是孙悟空，而是来自西方伏地魔。2011年，一位文手与朋友打赌输了，抽签抽到写一篇伏地魔×林黛玉的同人文，于是便出现了伏黛的开山之作《来自远方为你葬花》。 故事的开头是伏地魔灵魂穿越到遥远的林府之中，两人惊鸿一瞥，一见倾心。故事的结局是伏地魔强行给黛玉续命，最后灰飞烟灭。“你在尘世中辗转了千百年，却只让我看你最后一眼。”两人穿越时间与空间的苦恋，逆天而行却不得而终，堪称中西合璧的悲剧版《牡丹亭》。

这次玩笑，让网友们吐槽宝玉的不牢靠，纷纷开始跨作品为林妹妹物色更好的爱人。于是在2020年9月18日，由b站UP主“自叙”推出的“孙悟空×林黛玉《名著联姻|佛度众生不度我 宁负如来不负卿》二创视频横空出世，2022年的浏览量便已达到806.1万，被收录于B站“入站必刷85大视频”，荣获“名著拉郎CP代表作品”成就，由此衍生出大量二创剪辑与“圣黛”粉丝。（后该作品由于不明原因下架）

从2020年后“圣黛”cp话题热度居高不下，微博话题阅读量超 12 亿，86 版《西游记》孙悟空扮演者六小龄童受访时对圣黛 CP 表示认可，称其有创意，该表态使得《西游记》相关二创视频一周新增 8.7 万条。 抖音是国内最大的流媒体平台，2025年6月5日抖音又爆了一条关于圣黛cp的短视频。截止到今日（2025.6.10）为止，该视频点赞量5天内破250万，评论数量超14万。

三、圣黛CP爆火原因

1.角色本身的吸引力 首先是性格的反差萌。孙悟空是武力值超高的“斗战胜佛” ，林黛玉是多愁善感的“潇湘妃子”，直球男x内耗女的设定，而面对悟空的赤诚专一，林妹妹终于不用以泪洗面，黛玉哭泣时，孙悟空会说：“你别哭了，有什么事赶紧说啊。师父，我最见不得人家哭了。她要是有什么不平事，尽管说出来，俺老孙替她做主。”在“圣黛CP”的视频中，孙悟空比贾宝玉更能接住林黛玉的种种小情绪。其次，黛玉体弱，而法力高强的孙悟空可以保护身体虚弱的她，也可以为她向太上老君寻药治病。流传在短视频上的“圣黛cp”剪辑片段中，黛玉即将离世，活不过第二天，孙悟空为此怒闯阎罗殿，在生死簿划掉林黛玉的名字。身份上，两人番位一致，就像网友所言，“孙悟空是四大名著第一男主，林妹妹是四大名著第一女主，这怎么不算门当户对呢？”孙悟空和林黛玉的角色形象被重新挖掘，重新探索，他们细致的人格得以被看见。对形象解读流变是时代的鉴照，是时代变革中集体情感结构的体现（Sun Ping 2020,1)。

2.经典神圣性的打破 当代年轻人对经典文化有着全新的态度。他们不再被动接受经典，而是主动解构、创新，通过二次创作赋予经典新的生命力。跨次元的组合既满足了年轻人的猎奇心理，也让传统文化以更轻松的方式融入现代生活。原本的木石情缘，就像网友说的，林黛玉是绛珠仙草，而孙悟空则是补天遗石的化身，这种一草一石，这何尝又不是一种“木石情缘”，“林妹妹当时一定是认错了石头”。二创作者并未扭曲孙悟空“已识乾坤大，犹怜草木青”的豁达襟怀，也没改变林黛玉“心较比干多一窍，病如西子胜三分”的聪慧沉郁，而是通过影视片段剪辑，让两者的台词自然契合。这是在熟读经典上的巧妙改编，而非乱编，胡编。

3.情感投射与代偿心理： 圣黛 CP 的流行反映了青年通过同人创作缓解现实压力的需求。粉丝常通过虚构关系弥补现实情感缺失，圣黛 CP 中孙悟空对黛玉的无条件守护，恰是现代青年对 “理想亲密关系” 的投射。“然而，除了实用性之外，撰写同人小说也是帮助人们理解内心情感的好方法，无论是积极的还是消极的……”(Aynur Akpinar 2006，23)现代快节奏且充满压力的生活中，许多人经常感到孤独和无助，内心深处渴望找到一种能够互补、带来温暖和庇护的亲密关系。而这种心理机制与日本 “乙女文化” 中对虚拟男性角色的情感寄托具有跨文化一致性。

4.平台的催化作用： 近年来，随着文学与影视、网络媒介的相互介入，文学经典的跨媒介传播与破圈发展已经成为一个显著现象，在不断催生新的文艺形态的同时，也促使文学经典作品走向更为广泛的受众群体，焕发出蓬勃的生命力。(Zhang&Hong 2025，1)抖音、B 站等平台拥有庞大用户群体与强大传播力，算法推荐机制依据用户兴趣精准推送，能迅速将圣黛 CP 相关内容呈现在潜在受众眼前，加速其传播扩散。平台上丰富的互动形式，如弹幕、评论、点赞等，构建起用户间交流分享的社区氛围，让受众从单纯观看者转变为传播参与者，用户自发讨论、二创衍生进一步推动话题热度攀升，形成传播裂变效应 。

四、圣黛CP现象的影响

1.积极影响 首先对经典文学传播有相当大的积极作用，圣黛 CP 以娱乐化形式激发年轻群体对《西游记》《红楼梦》的兴趣，如 B 站二创视频带动原著相关搜索量，以娱乐化形式引发年轻群体对《西游记》《红楼梦》的兴趣，同人创作也推动经典文本的二次解读与文化出圈。其次，它拓宽拉郎创作的边界，也推动商业资本对热门CP的关注与潜在开发。

2.潜在争议与反思： 圣黛 CP 中孙悟空 “斗战胜佛” 的神性被简化为 “护妻狂魔”，林黛玉的诗性悲情被重构为 “被拯救者”，这种改编引发学界对经典角色符号价值的争议。文艺批评家李敬泽（2023）指出，二创将孙悟空的叛逆精神降维为 “恋爱脑”，实质是对原著 “反抗权威” 内核的消解。这种争议本质上是数字时代 “经典祛魅” 与 “文化记忆守护” 的博弈。拥有生命力的创意改编无不实现传统与创新的平衡。经典的传承不必墨守成规地照搬原典，但更不能枉顾原著精神地胡编滥造，而是要怀着敬畏之心，深挖原著内核后以现代语言重新书写。

五、结论

基于数字时代，我们所面临的艺术对象不仅存在于某种有形的物质空间，而且还在网络空间和社交平台上日趋活跃并逐渐为大众所理解和接受。(Sean Lowry 2024，1)圣黛CP的爆火，是年轻人用跨次元拉郎重构经典的文化实验。从B站二创到抖音传播，平台算法与用户创作共同推动这对CP破圈，既满足了现代青年对理想爱情的情感寄托，也让《西游记》《红楼梦》以更轻松的方式走近大众。这种创新改编在娱乐中激活了经典生命力，但也需在创意与原著精神间找到平衡，让传统文化真正实现年轻化传承。

双语

拉郎CP Lalang CP 同人小说 Fan fiction 跨次元组合 Cross-dimensional combination 角色形象 Character image 经典文化 Classical culture 情感投射 Emotional projection 二次创作 Secondary creation 平台算法 Platform algorithm

问题

1. “拉郎CP”的含义是什么？ 2. 孙悟空与林黛玉为何会受到网友欢迎？ 3. 是哪个平台最初推动了“圣黛CP”的火爆？ 4. 孙悟空和林黛玉各自来自哪两本经典名著？ 5. 一般认为“圣黛CP”的流行有哪些积极影响？

文献

[1] Zhang Yuxi 张宇晰, Song Hongyan 宋红岩. (2025). 为文学作品插上影视改编的翅膀——评《文学经典跨媒介传播的观念演变研究》 \[Giving Literary Works Wings through Film Adaptation – A Review of The Conceptual Evolution in Cross-media Dissemination of Literary Classics]. 传媒 Media (05): 97–98. [2] Sun Ping 孙平, Yang Zi 杨梓. (2020). 不同时代动画电影中孙悟空形象的变迁 \[The Transformation of Sun Wukong’s Image in Animated Films across Different Eras]. 电影评介 Film Review (20): 82–85. DOI:10.16583/j.cnki.52-1014/j.2020.20.022. [3] Wu Ennan 吴恩楠, Jiang Fatian 姜发田. (2022). 拉郎CP：Z世代的缝接想象、主体交往与赛博格化 \[Lalang CP: Z Generation’s Patchwork Imagination, Subject Communication, and Cyborgization]. 网络文化研究 Internet Culture Studies (00): 179–197. [4] He Shengli 何胜莉. (2021). 那些年我们嗑过的神仙CP——亚文化视野下的中国神话故事拉郎配心理考察 \[The Divine CPs We Once Shipped: A Subcultural Perspective on the Psychological Study of Lalang Pairings in Chinese Mythology]. 神话研究集刊 Journal of Mythology Studies (01): 197–214. [5] Sean Lowry, Adam Geczy, Chen Yun. Digital Images: Cross-media Forms of Art and Their Methodological Studies \[J]. Art Observation, 2024, (11):75-82. [6] Akpinar, A., & Wennerström, M. Emotional Ownership and the Fan Fiction Community \[R]. May 2006. Supervisors: Svensson P., Östberg J.

AI陈述：我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Li_Bingjie#Final_Paper 魅力城头山 Charming Chengtoushan

Chengtoushan: The Dawn of Rice Cultivation in the East and the Dialogue with World Civilizations Li Bingjie Abstract The Chengtoushan Site in Lixian County is one of the earliest ancient cities in the Yangtze River Basin, preserving over 6,000 years of rice cultivation civilization. This article compares its moat and city wall, as well as the rice field remains, with those of Ur and Fayum, from four aspects: archaeological discoveries, cultural connotations, comparisons between Eastern and Western civilizations, and modern values, highlighting the uniqueness of East Asian agricultural civilization and its significant position in the early world civilizations. I. Archaeological Discoveries Chengtoushan is located on the banks of the Chenshui River in Lixian County, Hunan Province, in the Liyang Plain at the northwest edge of Dongting Lake. This site, which archaeologists have referred to as "the earliest urban prototype in China", was discovered by local cultural workers in 1979. From 1991 to 2011, it was systematically excavated by the Hunan Provincial Institute of Cultural Relics. The site has a circular layout. The existing city wall has a diameter of approximately 325 meters, covering an area of nearly 80,000 square meters. The cultural deposits are up to 12 meters thick, with successive layers of remains from different periods such as the Daxi Culture, Qujialing Culture, and Shigezhou Culture, forming a condensed history of prehistoric civilization development in the middle reaches of the Yangtze River. (Joint Chinese-Japanese Research on the Environmental Archaeology of the Liyang Plain and Related Comprehensive Studies [M]. Beijing: Cultural Relics Press, 2012.) The most astonishing discovery at the site was the rice field ruins dating back to 6,100 years ago. Archaeologists unearthed a regular irrigation system within the city wall, including ponds, ditches and ridges. Carbonized rice and rice husks were detected in the soil, and through carbon-14 dating, it was confirmed to be artificially cultivated rice. This predates the rice remains in the Indus River Basin by approximately 2,000 years. Within the city, there were also the earliest clusters of pottery kilns in China, among which a well-preserved horizontal cave-style pottery kiln with clear structures of the kiln chamber, firebox and flue was unearthed. The unearthed pottery vessels such as sandy red pottery jars and black pottery beans demonstrated the highly advanced pottery-making techniques at that time. What is particularly important is that the moat surrounding the city wall was 35 meters wide and about 4 meters deep, forming a complete defense system together with the rammed earth city wall. This "city ditch and city wall interdependent" planning concept predates the defense works of Ur City in the Tigris-Euphrates River Basin by approximately 1,000 years. (Hunan Provincial Institute of Cultural Relics and Archaeology.)

II. Cultural Connotations The "irrigation rice farming system" of the ancestors of Chengtoushan is a representative of the agricultural civilization in East Asia. The rice field ruins are in a checkerboard pattern, with each plot measuring 50 - 80 square meters. The clay-built field ridges, along with water ditches and ponds, form a self-flowing irrigation network, which is different from the wheat cultivation system in the Tigris-Euphrates River Basin. The stable rice yield supported 2,000 - 3,000 people, promoting the division of handicrafts and social stratification. The different functional sites within the city indicated the formation of a "agricultural producers - handicraft workers - managers" social structure.( Guo Weimin. The Chengtoushan Site and the Origin of Civilization in the Middle Yangtze River Region) The layout of Chengtoushan city demonstrates the early state power logic. On the large, flat-topped earth platform in the center, there is a 150-square-meter circular square building site with regular column holes. It is speculated to be the residence of the tribal leader or a place for sacrifices. It forms an axis with the south city gate and the sacrificial altar outside, presenting a "palace and temple integrated" layout, integrating secular and religious power. The city wall has undergone four expansions, accompanied by the deepening of the moat and the expansion of the city area, resulting in progressive spatial expansion. This is different from the sudden emergence pattern of city-states in Mesopotamia.( Yan Wenming. The Origin and Formation of Chinese Civilization [J]. Antiquities, 1992(1): 37-43.) III. Comparison of Chinese and Western Civilizations Compared with the city of Ur in the Mesopotamian region, the two have similar defensive functions, but their architectural techniques and functional focuses are different. The walls of Ur were built with mud bricks and through the process of sun-drying, while the city of Chengtoushan used the technique of rammed earth for wall construction. The walls of Ur served both flood control and defense purposes, while the moat of Chengtoushan was used for irrigating rice fields, demonstrating the special utilization of water resources by the rice-growing civilization.( Gong Yuxu. Exploring the Civilization of Sumer [M]. Beijing: Democracy and Construction Press, 2018.) Compared with the Fayoum site in Egypt, Chengtoushan differed in crop types, farming methods, and land utilization efficiency. Rice was more dependent on stable water supply, which prompted the development of a complex irrigation system and collective collaboration model in Chengtoushan. Its two-year cropping system allowed for higher land carrying capacity, ultimately leading to different directions in social organization and technological paths between Eastern and Western civilizations. ( Trigger, Bruce G.Early Civilizations: Ancient Egypt and Mesopotamia[M]. Cambridge: Cambridge University Press, 2003.) IV. Modern Values The rice farming agriculture pioneered by Chengtoushan has been passed down and formed the agricultural civilization system of the Yangtze River Basin. The sacrificial altars and burial areas within the city unearthed jade cylinders and jade discs as the rudimentary forms of ritual objects, laying the foundation for the Liangzhu ritual system. The concept of "ring moat and city construction" adopted by Chengtoushan was also used by the capitals from the Shang and Zhou Dynasties to the Ming and Qing Dynasties. Yan Wenming once said that Chengtoushan is a precious gem of the southern civilization within the diversified pattern of Chinese civilization. ( Liu Li, Chen Xingcan. Chinese Archaeology: From the Late Paleolithic Age to the Early Bronze Age) From the perspective of global civilization history, Chengtoushan presents a distinct civilization origin model that is different from that of the Middle East and North Africa: developing lowland plains through artificial irrigation, abandoning reliance on river flooding; forming a governance structure that integrates secular and religious power rather than being dominated by theocratic power; establishing a family-based small-scale agricultural economy rather than a slave-based economy. This uniqueness provides key samples for studying the diversity of human civilizations, as Colin Renfrew said, it has rewritten the single narrative of the origin of early cities in the world. (Wang Wei. The Formation and Development of Early States in the East Asian Region [J]. Archaeology, 2010) conclusion The Chengtoushan Site in Lixian County are a civilization epic etched into the loess. The rice paddy ridges carry the genetic code of the East Asian agricultural civilization, and the moats and city walls conceal the logic of the early state-building. Compared with the civilizations of the Yellow River and Nile River basins, it not only demonstrates the common wisdom of human beings in responding to survival challenges, but also highlights the individuality of civilization shaped by geographical environment. Its value lies not only in the title of "the earliest city in China", but also in revealing the diverse paths of civilization origin and providing a historical reference for understanding cultural diversity. From the rammed earth city walls of Chengtoushan to the mud brick towers of Ur City, these ancient ruins jointly tell the eternal pursuit of human beings for a better life.

Terms and Expressions 1. 城头山遗址 Chengtoushan Site 2. 澧阳平原 Liyang Plain 3. 大溪文化 Daxi Culture 4. 屈家岭文化 Qujialing Culture 5. 石家河文化 Shijiahe Culture 6. 两河流域 Mesopotamia 7. 乌尔城 Ur 8. 法尤姆遗址 Fayum Site 9. 版筑夯土墙 rammed earth wall 10. 玉琮 jade cong 11. 玉璧 jade bi

Questions 1. How many years ago were the earliest rice field remains at Chengtoushan Site? 2. What are the differences in the construction materials of the city walls between Chengtoushan and the city of Ur in the Mesopotamian region? 3. In what aspects did the Chengtoushan civilization have the main influence on subsequent Chinese civilization?

Answer 1. 6100 years ago. 2. Chengtoushan used rammed earth for wall construction, while Ur City used mud bricks. 3. It laid the foundation for the rice farming agricultural tradition, the rudimentary form of ritual system and the planning concept of moat-walled city construction.

References [1] Hunan Provincial Institute of Cultural Relics and Archaeology. Li County Chengtoushan: Joint Chinese-Japanese Research on the Environmental Archaeology of the Liyang Plain and Related Comprehensive Studies [M]. Beijing: Cultural Relics Press, 2012. [2] Yan Wenming. The Origin and Formation of Chinese Civilization [J]. Antiquities, 1992(1): 37-43. [3] Guo Weimin. The Chengtoushan Site and the Origin of Civilization in the Middle Yangtze River Region [J]. Acta Archaeologica Sinica, 2007(1): 1-20. [4] Colin Renfrew, Baen. Archaeology: Theory, Methodology and Practice [M]. Nanjing: Yilin Press, 2018. [5] Liu Li, Chen Xingcan. Chinese Archaeology: From the Late Paleolithic Age to the Early Bronze Age [M]. Beijing: Life·Reading·New Knowledge Three-Link Bookstore, 2017. [6] Gong Yuxu. Exploring the Civilization of Sumer [M]. Beijing: Democracy and Construction Press, 2018. [7] Wang Wei. The Formation and Development of Early States in the East Asian Region [J]. Archaeology, 2010(2): 53-62. [8] Hunan Provincial Institute of Cultural Relics and Archaeology. 2010-2011 Excavation Report of Chengtoushan Site [J]. Acta Archaeologica Sinica, 2013(4): 487-526. [9] Trigger, Bruce G.Early Civilizations: Ancient Egypt and Mesopotamia[M]. Cambridge: Cambridge University Press, 2003. [10] Bellwood, Peter. First Farmers: The Origins of Agricultural Societies[M]. Malden: Blackwell Publishing, 2005.

城头山：稻作文明的东方曙光与世界文明的对话 李秉洁 摘要 澧县城头山遗址是长江流域最早古城之一，留存 6000 余年稻作文明。本文从考古发现、文化内涵、中西文明对比、现代价值四方面，将其环壕城垣、水稻田遗迹与乌尔城、法尤姆遗址对比，彰显东亚农耕文明独特性及在世界早期文明中的重要地位。 一、考古发现 城头山坐落于湖南澧县涔水河畔，地处洞庭湖西北边缘的澧阳平原。这片被考古学家称为"中国最早城市雏形"的遗址，于1979年被当地文物工作者发现，1991-2011年期间由湖南省文物考古研究所进行系统性发掘。遗址平面呈圆形，现存城垣直径约325米，总面积近8万平方米，其文化堆积厚达12米，自下而上依次叠压着大溪文化、屈家岭文化、石家河文化等不同时期的遗存，构成一部浓缩的长江中游史前文明发展史。 遗址最震撼的发现当属距今6100年的水稻田遗迹，考古人员在城墙内侧发掘出规整的灌溉系统，包括水塘、水沟与田埂，田土中检测出炭化稻米和稻壳，经碳十四测年证实为人工栽培稻，这比印度恒河流域的水稻遗存早约2000年。城内还出土了中国最早的陶窑遗址群，其中一座保存完好的横穴式陶窑，窑室、火膛、烟道结构清晰，出土的夹砂红陶釜、黑陶豆等器物，展现了当时高度发达的制陶工艺。尤为重要的是，环绕城垣的护城河宽达35米，深约4米，与夯土城墙共同构成完备的防御体系，这种"城壕相依"的规划理念，比两河流域乌尔城的防御工事早约1000年。

二、文化内涵 城头山先民的 “灌溉稻作体系” 是东亚农耕文明代表。其稻田遗迹呈棋盘式，单块 50 - 80 平方米，黏土夯筑田埂，水沟与水塘构成自流灌溉网，区别于两河流域的小麦种植系统。稳定的水稻产量供养 2000 - 3000 人，促进手工业分工与社会分层，城内不同功能遗址显示已形成 “农业生产者 - 手工业者 - 管理者” 的社会结构。 城头山城市布局彰显早期国家权力逻辑。中心大型夯土台基上 150 平方米圆角方形建筑基址，柱洞规整，推测为部落首领或祭祀居所，与南城门、城外祭坛形成轴线，呈现 “宫庙一体” 格局，融合世俗与宗教权力。城墙历经四次扩建，伴随城壕加深与城区扩大，渐进式空间拓展，与美索不达米亚城邦国家的骤兴模式不同。​ 三、中西文明对比 与两河流域乌尔城相比，两者防御功能相似，但建筑技术与功能侧重不同。乌尔城用泥砖、太阳晒干工艺，城头山采用版筑夯土墙技术；乌尔城城墙兼具防洪与防御，城头山城壕则承担稻田灌溉职能，体现稻作文明对水资源的特殊利用。​ 与埃及法尤姆遗址相比，城头山在作物种类、耕作方式、土地利用效率上均有差异。水稻更依赖稳定水分，促使城头山发展复杂灌溉系统和集体协作模式；其一年两熟的特性，使土地承载能力更高，最终导致东西方文明在社会组织、技术路径上走向不同方向。 四、现代价值 城头山开创的稻作农业，经传承形成长江流域农耕文明体系。城内祭坛与墓葬区出土玉琮、玉璧等礼器雏形，为良渚礼制奠基。其“环壕筑城” 理念被商周至明清都城沿用。严文明曾道，城头山是中华文明多元一体格局中南方文明的瑰宝。 在全球文明史视角下，城头山展现出与西亚、北非迥异的文明起源模式：以人工灌溉开发低地平原，摒弃大河泛滥依赖；形成世俗与宗教权力融合的治理结构，而非神权至上；建立家庭小农经济，而非奴隶制经济。这种独特性为研究人类文明多样性提供关键样本，正如伦福儒所言，它改写了世界早期城市起源的单一叙事。 结论 澧县城头山遗址是镌刻在黄土中的文明史诗，稻作田垄承载东亚农耕文明基因，环壕城垣暗藏早期国家建构逻辑。与两河、尼罗河流域文明对比，既展现人类应对生存挑战的共性智慧，也凸显地理环境塑造的文明个性。其价值不仅在于“中国最早城市”之名，更在于揭示文明起源多元路径，为理解文化多样性提供历史参照。从城头山夯土城墙到乌尔城泥砖塔楼，这些古老遗址，共同诉说人类对美好生活的永恒追求。

专有名词 1. 城头山遗址 Chengtoushan Site 2. 澧阳平原 Li yang Plain 3. 大溪文化 Da xi Culture 4. 屈家岭文化 Qu jia ling Culture 5. 石家河文化 Shi jia he Culture 6. 两河流域 Mesopotamia 7. 乌尔城 Ur 8. 法尤姆遗址 Fayum Site 9. 版筑夯土墙 rammed earth wall 10. 玉琮 jade cong 11. 玉璧 jade bi

问题 1. 城头山遗址最早的水稻田遗迹距今多少年？ 2. 城头山与两河流域乌尔城的城墙建筑材料有何不同？ 3. 城头山文明对后世中华文明的主要影响体现在哪些方面？

答案 1. 距今6100年。 2. 城头山采用夯土筑墙，乌尔城使用泥砖筑墙。 3. 奠定了稻作农业传统、礼制雏形与环壕筑城的规划理念。

参考文献 [1]湖南省文物考古研究所.澧县城头山:中日合作澧阳平原环境考古与有关综合研究[M].北京:文物出版社, 2012. [2]严文明. 中国文明的起源与形成[J]. 文物, 1992(1):37-43. [3]郭伟民.城头山遗址与长江中游文明起源[J].考古学报, 2007(1):1-20. [4]伦福儒, 巴恩.考古学: 理论、方法与实践[M].南京: 译林出版社, 2018. [5]刘莉, 陈星灿.中国考古学:旧石器时代晚期到早期青铜时代[M]. 北京:生活·读书·新知三联书店, 2017. [6]拱玉书. 苏美尔文明探秘[M]. 北京: 民主与建设出版社, 2018. [7]王巍. 东亚地区早期国家的形成与发展[J]. 考古, 2010(2):53-62. [8]湖南省文物考古研究所.城头山遗址2010-2011年发掘报告[J]. 考古学报, 2013(4):487-526. [9]Trigger, Bruce G.Early Civilizations: Ancient Egypt and Mesopotamia[M]. Cambridge: Cambridge University Press, 2003. [10] Bellwood, Peter. First Farmers: The Origins of Agricultural Societies[M]. Malden: Blackwell Publishing, 2005.

AI陈述： 我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Xiao_Xiangping#Final_Paper 扬州炒饭 Yangzhou Fried Rice

Yangzhou fried rice

When golden egg strands, resembling blooming osmanthus flowers, dance in sizzling lard, tenderly enveloping each plump, resilient grain of overnight long-grain rice—the sweetness of river shrimp, the savory richness of Jinhua ham, the crisp freshness of green peas, the tender chewiness of sea cucumber, and the umami depth of dried scallops all fuse passionately under intense wok heat, releasing an explosive aroma. This is Yangzhou fried rice, a global sensation. It epitomizes the culinary philosophy of Huaiyang cuisine—harmony (balanced ingredients), precision (refined technique), clarity (vibrant hues), and freshness (seasonal vitality)—while serving as a gleaming "golden emblem" of Chinese gastronomic culture conquering palates worldwide.

Origins The roots of Yangzhou fried rice trace back to the Grand Canal culture of the Sui and Tang dynasties. Legend recounts that in 605 CE, during Emperor Yang of Sui’s southern tour to Yangzhou via the canal, an imperial chef crafted "gold-flecked rice" (egg-coated grains shimmering like "gold-wrapped-silver") to please the emperor. As the dish caught the sunset’s glow, mirroring the canal’s ripples, the emperor exclaimed, "This is scattered gold paving jade!" This marked its prototype. By the Qing dynasty, the gourmet scholar Yuan Mei documented "Yangzhou egg-fried rice" in Suiyuan’s Recipes, emphasizing "each rice grain separated, every egg strand distinct," and noting the technique of enhancing flavor with ham and shrimp. During the Qianlong era, Yangzhou governor Yi Bingshuo innovatively integrated Huaiyang cuisine’s "eight-delicacy" concept—adding river shrimp, soaked sea cucumber, cooked chicken thigh, dried scallops, green peas, bamboo shoots, Jinhua ham, and fresh mushrooms. Upon tasting, guests marveled, "Eight treasures hidden in gold and jade—the governor rivals Yi Ya (legendary chef)!" Thus, a humble street snack ascended to banquet stardom.

Development In the 19th century, amid Yangzhou’s thriving teahouse culture, "assorted fried rice" became a culinary symbol for the masses. Teahouses adapted ingredients seasonally: spring bamboo shoots, summer peas, autumn crab roe, and winter mushrooms—showcasing the wisdom of "eating what’s timely." By the 1950s, Yangzhou Culinary College standardized the "gold-wrapping-silver" technique (egg coating each grain) in textbooks, transitioning craftsmanship into scientific methodology. In 2002, Jiangsu’s Quality Bureau issued the Yangzhou Fried Rice Standard(DB32/T 1523), mandating eight core ingredients (e.g., sea cucumber, shrimp, chicken), sparking debates yet driving industrial scaling. Post-2000, cold-chain technology fueled ready-meal innovation: Japan’s "fried rice robot" achieved 300 servings/hour, while Germany’s canned version substituted ham with local sausage, demonstrating global adaptability. In 2015, Yangzhou’s 4,192kg mega fried rice bid for Guinness World Records (later revoked for waste), reflecting industrial ambition.

Reasons for Popularity Universal Flavor Design: The fatty aroma of Gaoyou salted egg yolks, the springy texture of Yizheng long-grain rice, the umami of seafood, and the savoriness of ham synergize into an "umami symphony" beloved across East Asia. Culinary Efficiency: A 10-minute wok toss transforms leftovers into warmth—perfectly balancing efficiency and comfort for New York office lunches or Tokyo night-shift bentos.

Cultural Symbolism: As a vessel of Huaiyang philosophy, it embodies: Harmony ("eight-delicacy pairing" like sea cucumber meeting green peas), Precision(each grain "dancing" distinctly in the wok), Clarity (golden egg, white rice, green peas evoking a Monet palette), Freshness (seasonal shifts: spring bamboo shoots, autumn crab roe). Ang Lee’s Eat Drink Man Woman opening scene—a four-minute wok ballet—pays cinematic homage to this culinary ethos.

Cultural Significance Yangzhou fried rice transcends food. Folk Wisdom: Its rebirth of overnight rice into a banquet centerpiece echoes agrarian reverence—"every grain comes from hard work"—showcasing Chinese ingenuity in resourcefulness. Spiritual Metaphor: The "gold-wrapping-silver" form (golden egg cloaking silver rice) mirrors Yangzhou salt merchants’ ethos: "wealth without extravagance," blending luxury with authenticity. Global Dialogue: Brazil’s black bean-chili version honors Latin American flavors, while India’s curry-infused street adaptation reflects localization. Such "reinventions" signify cultural vitality. As food critic Cai Lan noted, "True cultural export fears no transformation—wheat became noodles in China; Yangzhou rice breathes anew overseas." UNESCO’s Huaiyang cuisine nomination report affirms: "A humble bowl conveys profound Eastern philosophy: balance, renewal , and inclusiveness ."

Traditional Recipe Ingredients (4 servings): 500g overnight Yizheng long-grain rice 3 Gaoyou salted egg yolks (hand-crumbled) 50g fresh river shrimp, 30g cooked Jinhua ham, 40g soaked sea cucumber, 15g dried scallops, 20g green peas 30g rendered lard, 5g Huai salt

Key Steps 1.Golden "Osmanthus" Eggs: Heat lard to 180°C. Pour beaten eggs; stir rapidly into golden flakes. 2.Loosen the Rice: Add cold rice. Use chopsticks to separate grains over medium heat until they "dance." 3.Gold-Wraps-Silver: Add egg flakes. Toss wok continuously to coat each grain evenly. 4.Eight Delicacies Sequence: Add durable ingredients first (scallops, sea cucumber), then shrimp and peas. Finish with ham to preserve aroma. 5.Wok Hei Seal: Drizzle 5g Huadiao wine along wok rim. Cover immediately for 10 seconds as steam erupts.

Key Techniques (Intangible Cultural Heritage Standard) Tools: "Fried Rice Trident"—copper shovel (rice), bamboo chopsticks (loosening), ladle (seasoning). Heat Control: Wok temperature ≥220°C; cooking time ≤180 seconds. Plating: Three-color layering—white (rice), gold (egg), green (peas).

Terms & Expressions 扬州炒饭 Yangzhou Fried Rice 淮扬菜系 Huaiyang Cuisine 运河文化 Grand Canal Culture 金裹银 Gold-Wrapping-Silver 八珍配伍 Eight-Delicacy Pairing 惜物智慧 Ingenuity in Resourcefulness 蟹膏 Crab Roe 菇片 Sliced Mushrooms

Questions 1. To which culinary tradition does Yangzhou fried rice belong? 2. List the core ingredients used in Yangzhou fried rice. 3. Why has Yangzhou fried rice gained worldwide popularity? 4. Provide examples of global adaptations of Yangzhou fried rice.

References 1.Wang Zhenheng【王镇恒】. Chinese Tea Foods【中国茶食】. Light Industry Press, 2018. 2.Zhou Xiaoyan【周晓燕】. Huaiyang Cuisine Techniques【淮扬风味制作工艺】. China Textile & Apparel Press, 2020. 3.Yangzhou Fried Rice Standard【扬州炒饭】.DB32/T 1523-2020. Jiangsu Provincial Administration for Market Regulation. 4. Anderson, E.N. The Food of China. Yale University Press, 1998. 5. Yangzhou Fried Rice: The Global Adaptation of a Chinese Classic. Journal of Culinary Science, 2023(2). 6. Cai Lan【蔡澜】. Nostalgia on the Tip of the Tongue【舌尖上的乡愁】. Cosmos Books, 2021. 7. UNESCO. Dossier de candidature de la cuisine Huaiyang au patrimoine immatériel. 2024 (草案).

AI statement:I hereby guarantee that I did not use AI to write the final paper for this course.

扬州炒饭

当金灿灿的蛋丝如同绽放的桂花，在滚烫的猪油中翻腾飞舞，将一粒粒晶莹饱满、弹性十足的隔夜籼米温柔包裹；河虾仁的鲜甜、金华火腿的咸香脂润、翠绿青豆的爽脆甘甜，还有海参的软糯、干贝的醇鲜，在猛火镬气的高温催化下热烈交融、香气迸发——这便是风靡全球的扬州炒饭。它不仅是淮扬菜系“和（食材平衡）、精（技艺考究）、清（色泽明快）、新（时令鲜活）”烹饪哲学的精妙缩影，更是中华饮食文化扬帆出海、征服世界味蕾的一张闪亮“金色名片”。

起源 扬州炒饭的历史根系深植于隋唐运河文化。传说公元605年，隋炀帝沿大运河南巡扬州时，御厨为讨好圣心，以当地特产籼米炒制"碎金饭"（蛋液包裹米粒呈金裹银状）献宴，其在夕阳下竟与运河粼波交相辉映，隋炀帝大赞：“此乃碎金铺玉！”，此为雏形。至清代，文人美食家袁枚在《随园食单》中首次明确记载"扬州蛋炒饭"，强调"饭要粒粒分开，蛋须丝丝分明”，并提及“火腿、虾仁增鲜”的技法。乾隆年间，扬州知府伊秉绶革新性融入淮扬菜“八珍”理念——加入河虾仁、水发海参、熟鸡腿肉、干贝、青豆、冬笋、金华火腿及鲜菇，宾客尝后惊呼：“八珍藏金玉，知府赛易牙！”，至此市井小吃升格为宴席名肴。

发展 19世纪扬州茶社文化兴盛时期，"什锦炒饭"成为平民饮食符号。茶楼依循四季更迭调整配料：春取嫩笋、夏用鲜豌豆、秋添蟹膏、冬入菇片，彰显"不时不食"的饮食智慧。1950年代，扬州商业专科学校烹饪系将"金裹银"技法（蛋液均匀裹米）纳入教材规范，标志着其从经验传承转向科学化制作。2002年江苏省质监局颁布《扬州炒饭标准》（DB32/T 1523），明文规定须含海参、虾仁、鸡腿肉等8种主料，引发传统与创新的热议，却也推动产业规模化发展。进入21世纪后，冷链技术催生预制菜革命。日本研发的"炒饭机器人"实现单锅300份/小时产能，德国超市的罐头版则用本地香肠替代火腿，展现出全球适应性。2015年扬州创制4192公斤巨型炒饭申报吉尼斯纪录，折射产业规模化野心。

流行原因 首先，味觉设计的普适性构成首要吸引力。高邮咸蛋黄的脂香、仪征籼米的弹性、海鲜的鲜味与火腿的咸鲜协同作用，形成东亚人最钟情的“鲜香交响曲”。 其次，烹饪手段的便捷性使其天然适配现代生活。十分钟快烹成就一锅热香——纽约白领的午餐盒、东京夜班的便当，现代生活的效率与温暖在此完美平衡。 更深层的是其文化符号价值。作为淮扬菜哲学的物质载体，它通过“八珍配伍”体现“和”、“米粒分明”诠释“精”、“黄白青三色”呈现“清”、“时令鲜物”表达“新”。李安电影《饮食男女》开篇四分钟行云流水的炒饭镜头，正是对这种饮食哲学的影像化致敬。

文化内涵 扬州炒饭的文化内涵远超出食物本身。在民俗层面，扬州炒饭是"惜物智慧"的结晶——隔夜冷饭重生为宴席珍馐，呼应农耕文明“粒粒皆辛苦”的生存哲学。在精神层面，“金裹银”的形态隐喻“富贵不离根本”：黄金般的蛋丝包裹银白米粒，恰似扬州盐商鼎盛时期“雅俗共赏”的文化气质。其全球化进程更成为文化传播的经典案例：巴西版加入黑豆和辣椒面，呼应拉美饮食结构；印度街头"咖喱扬州炒饭"则见证本土化融合。这种看似"失真"的演变，实则是中华文化生命力的体现。如美食家蔡澜所言："真正的文化输出从不怕变形，就像小麦传入中国变成面条，扬州炒饭在海外重生恰是文明的呼吸。"联合国教科文组织在淮扬菜申遗报告中特别指出："一碗扬州炒饭，用最平凡的载体传递着最深邃的东方哲学：平衡之道、重生之智、包容之量。"

做法 1. 原料精选（4人份）： 隔夜仪征籼米500克 高邮咸鸭蛋黄3个 鲜活河虾仁50克、熟金华火腿30克、水发刺参40克、干贝15克、青豆20克 熬制猪油30克、淮盐5克 2. 关键工序： 滑蛋成桂：猪油烧至180℃，倾入蛋液急速搅动，形成金黄花絮状。 松米为基：冷饭入锅以竹筷纵划横拨，中火炒至米粒在锅中"跳弹"。 金裹银技：倒入蛋碎持续颠锅，使每粒米均匀裹上蛋黄呈"金镶玉"态。 八珍次第：先下干贝、海参等耐炒料，后放虾仁、青豆，火腿末最后撒入保其脂香。 镬气封鲜：沿锅壁淋花雕酒5克，蒸汽腾起瞬间盖锅焖10秒。 3.非遗技法要诀： 工具使用"炒饭三叉戟"：铜铲分饭、竹筷松料、手勺调味 灶温恒定220℃以上，炒制时长严格控制在180秒内 装盘时饭粒需呈"三色三层"：底白（米）、中黄（蛋）、顶青（豆）

术语和表达 扬州炒饭 Yangzhou Fried Rice 淮扬菜系 Huaiyang Cuisine 运河文化 Grand Canal Culture 金裹银 Gold-Wrapping-Silver 八珍配伍 Eight-Delicacy Pairing 惜物智慧 Ingenuity in Resourcefulness 蟹膏 Crab Roe 菇片 Sliced Mushrooms

问题 1.扬州炒饭属于哪一种菜系？ 2.扬州炒饭的制作过程中使用了哪些原料？ 3.扬州炒饭为何能风靡全球？ 4.请举例扬州炒饭在全球化进程中衍生出的其他菜品。

参考文献 1. 王镇恒《中国茶食》轻工业出版社, 2018. 2. 周晓燕《淮扬风味制作工艺》中国纺织出版社, 2020. 3.《扬州炒饭》DB32/T 1523-2020. 江苏省市场监督管理局. 4. Anderson, E.N. The Food of China. Yale University Press, 1998. 5. Yangzhou Fried Rice: The Global Adaptation of a Chinese Classic. Journal of Culinary Science, 2023(2). 6. 蔡澜《舌尖上的乡愁》天地图书, 2021. 7. UNESCO. Dossier de candidature de la cuisine Huaiyang au patrimoine immatériel. 2024 (草案).

AI陈述：我在此保证，我没有使用AI来写这篇课程的期末论文。

https://bou.de/u/wiki/User:Lu_Yingxin#Final_Paper 中国井盐 Chinese Well Salt

202330092156 鲁盈馨 Lu Yingxin

                                                                             Chinese Well Salt

Abstract: Salt, an indispensable non-metallic mineral resource, has been both an industrial foundation and daily essential. In Chinese culture, it ranks among "firewood, rice, oil, salt, sauce, vinegar, and tea". As the "pinnacle of flavors", it was extracted from seas, lakes, wells and mines, with well salt production showcasing ancient Chinese artisans' wisdom in drilling and brine utilization.

Key words: Well Salt Drilling Brine Extraction Brine Transportation Brine Lifting

Salt: The Quintessential Mineral Resource

Salt, the most universally utilized non-metallic mineral resource, serves as both an industrial cornerstone and a daily necessity. In the Chinese proverb "firewood, rice, oil, salt, sauce, vinegar, and tea," the term "salt" specifically refers to table salt, a ubiquitous mineral compound. Hailed as the "pinnacle of flavors," salt has been a crucial condiment since antiquity. Humans early on discovered that table salt could be extracted from seas, salt lakes, salt wells, and salt mines. Occasionally, when groundwater or subterranean rivers traverse salt deposits, the water becomes saturated with salt, forming natural brine. By digging wells to collect this brine, ancient peoples pioneered salt extraction. Well salt, defined as salt produced by pumping underground brine (either naturally formed or generated by salt mine ), is extracted from vertical shafts known as salt wells.

The Ingenuity of Well Salt Production Among ancient salt-making techniques, well salt production stood out for its complexity, embodying the ingenuity of ancient Chinese artisans. The technology evolved over millennia: as early as the late Warring States Period (475–221 BCE), Li Bing, Governor of Shu County, initiated salt well digging in the Chengdu Plain to extract brine for evaporation. Early wells featured large diameters, unstable walls without reinforcement, and shallow depths, limiting extraction to superficial brine. By the mid-Northern Song Dynasty (960–1127), Zhuotong Wells emerged in southern Sichuan—these narrow-bore deep wells utilized a "one-character shaped" drill bit to crush rock via impact. Water was injected or harnessed to flush cuttings, which were extracted with bamboo tubes. With a well diameter no larger than a bowl, Zhuotong Wells minimized collapse risks. Craftsmen further reinforced wells by sinking casings made from jointed nanzhu bamboo poles, wrapped in hemp ropes and sealed with oil putty to prevent wall collapse and freshwater infiltration. Brine extraction employed slender bamboo tubes fitted with a check valve of cured leather at the base, each capable of holding several dou (a traditional unit) of brine. Above the well, a massive wooden frame supported a windlass-pulley system for lifting brine.The advent of Zhuotong Wells marked the maturity of ancient China’s deep-well drilling technology. Well depths continued to increase, culminating in 1835 during the Qing Dynasty’s Daoguang reign, when the Shenhai Well in Zigong, Sichuan, became the world’s first well exceeding 1,000 meters.

Drilling: The Foundation of Well Salt Production

Unlike sea salt or lake salt, well salt lies buried underground, making drilling technology decisive. In the late Warring States Period, artisans dug large-mouthed shallow wells by manual labor to access shallow brine. The Northern Song Dynasty revolutionized drilling with the "impact percussion method," where workers operated treadles to drive drill bits in vertical strokes, breaking rock to deepen wells. The process included site selection, well-mouth excavation, stone ring installation, large-bore drilling, wooden piling, and small-bore finishing—technologically akin to modern oil and gas extraction. This method pioneered mechanical drilling, enabling exploitation of deep brine reserves. By 1835, the Shenhai Well, excavated via this technique, symbolized the zenith of ancient drilling proficiency. Renowned for its compact footprint, low cost, and high efficiency, the impact method remains in use today.

Brine Extraction: From Well to Surface

Early brine extraction mirrored well-water drawing, but post-Song Dynasty innovations introduced the brine-extracting tube: a node-removed bamboo cylinder smaller than the well bore, fitted with a cured cowhide check valve. Lowered to the well bottom, the valve opened to admit brine; when lifted, internal pressure sealed the valve, trapping the brine. Equipped with fixed pulleys and a brine rope, the Tianche harnessed oxen to operate the lifting system. Brine Transportation: Overcoming Distance Initially, brine was transported short distances to nearby salt stoves. As the industry advanced, a need arose to transport brine to natural gas fields—thus the "relocate brine for evaporation" strategy drove technological innovation. The ancients devised bamboo pipelines (Zhujian) and brine storage pits (Jianwo) for long-distance transport. Zhujian consisted of hollowed bamboo tubes bound with strips and sealed with putty, connected to form pipelines that used pressure difference and communicating vessels to carry brine 5–10 kilometers. Unable to make sharp turns, Zhujian relied on Jianwo—bamboo-wood storage containers that redirected flow, reduced pipeline pressure, settled impurities, and cleared blockages.

Brine Lifting: Conquering Terrain

Where terrain caused pipeline inlets to sit lower than outlets, brine lifting stations emerged to increase hydraulic head. These stations housed well carts driven by mules or horses, which vertically lifted brine to overcome elevation gaps, enabling cross-mountain transport and resolving the brine-fuel spatial mismatch.

Brine Concentration: Enhancing Efficiency To increase brine salinity, lifting stations delivered brine to elevated Zhitiaojia (branch frame) concentration towers—sunlight- and wind-exposed platforms that evaporated water, concentrated brine, reduced fuel use, and purified salt. Optimal evaporation required constructing towers in high, open, sunlit locations.

Brine Boiling: The Final Transformation Historically termed "boiling," "frying," or "stewing," well salt production culminated in evaporation. Brine was transported to natural gas-fed salt kitchens, where fuel-efficient evaporation yielded crystalline salt.

Ancient China’s complete drilling and salt-making system made profound contributions to human civilization and global science. Introduced to Europe, these technologies fueled mineral exploration worldwide, advancing drilling techniques and subterranean resource exploitation.

Terms and expression 1.Well salt Well salt refers to the salt extracted from salt wells, produced by pumping underground brine (naturally formed or generated by salt mines) and processing it through evaporation and other techniques.

2.Zhuotong Wells Zhuotong Wells were narrow-bore deep wells that emerged in southern Sichuan during the mid-Northern Song Dynasty. They used a "one-character shaped" drill bit to crush rocks via the impact method, marking the maturity of ancient deep-drilling technology.

3.Impact percussion method The Impact percussion method was an innovative drilling technology in the Northern Song Dynasty. It involved workers operating treadles to drive drill bits in vertical strokes, smashing rocks to deepen wells, similar to modern oil and gas extraction techniques.

4.Shenhai Well Completed in Zigong, Sichuan in 1835 (during the Daoguang reign of the Qing Dynasty), Shenhai Well was the world’s first salt well exceeding 1,000 meters, symbolizing the pinnacle of ancient drilling technology.

5.Brine-extracting tube The Brine-extracting tube was a bamboo device used for brine extraction after the Song Dynasty. Fitted with a cowhide check valve at the base, it opened to absorb brine when lowered and sealed to trap brine when lifted.

6.Zhujian Zhujian were ancient bamboo pipelines for brine transportation. Using the principle of pressure difference and communicating vessels, they could extend 5–10 kilometers and required coordination with brine storage pits (Jianwo).

7.Jianwo Jianwo were bamboo-wood storage containers for brine, used to transfer brine, reduce pipeline pressure, settle impurities, and clear blockages, assisting Zhujian in long-distance transportation.

8.Zhitiaojia Zhitiaojia, or brine concentration towers, were open-air platforms built at high altitudes. They utilized sunlight and wind to evaporate water, concentrate brine, reduce fuel consumption during salt boiling, and purify salt.

9.Tianche Tianche was a mechanical device for lifting brine in well salt production. Composed of fixed pulleys and brine ropes, it harnessed oxen to drive the pulley system for brine extraction.

10. "Relocate brine for evaporation" strategy The "relocate brine for evaporation" strategy referred to transporting brine to natural gas production areas for salt evaporation, resolving the spatial mismatch between brine and fuel, and promoting innovation in brine transportation technology.

Questions 1.What was the significance of Zhuotong Wells in the history of ancient Chinese well salt production? The Zhuotong Wells, emerging in mid-Northern Song Dynasty (960–1127) in southern Sichuan, marked a pivotal advancement in ancient Chinese well salt production. They introduced narrow-bore deep drilling with a "one-character shaped" drill bit, using impact percussion to crush rock. This technique minimized well collapse risks by reducing the bore diameter to bowl-sized dimensions and reinforcing walls with nanzhu bamboo casings sealed by hemp ropes and oil putty. The innovation of bamboo brine-extracting tubes with leather check valves, coupled with windlass-pulley systems, enabled efficient deep brine extraction. Zhuotong Wells pioneered the world’s earliest deep-well drilling technology, laying the foundation for subsequent advancements, such as the Shenhai Well’s 1,000-meter depth in the Qing Dynasty.

2.How did the "Impact percussion method" revolutionize well drilling technology during the Northern Song Dynasty? The Northern Song’s "Impact percussion method" transformed drilling by introducing mechanical vertical strokes. Workers operated treadles to drive drill bits, breaking rock layer by layer to deepen wells. The process included systematic steps: site selection, well-mouth excavation, stone ring installation, large-bore drilling, wooden piling, and small-bore finishing—paralleling modern oil and gas extraction techniques. This method replaced manual shallow digging with mechanical efficiency, enabling access to deep brine reserves. It pioneered the use of drill bits for rock fragmentation, reducing labor intensity and increasing well depth feasibility. By 1835, this technique culminated in the Shenhai Well, demonstrating its legacy in advancing subterranean exploration.

3.What is the structural design of the "Brine-extracting tube," and how does it function to collect brine? The brine-extracting tube was a bamboo cylinder with nodes removed, smaller than the well bore. At its base, a cured cowhide check valve was installed. When lowered to the well bottom, the valve opened due to water pressure, allowing brine to enter. As the tube was lifted, internal brine pressure pushed the leather valve shut, trapping the brine inside. This design leveraged hydrostatic pressure and one-way flow, enabling efficient brine collection. Paired with fixed pulleys and brine ropes, the system (e.g., Tianche) used oxen to operate the lifting mechanism, streamlining the extraction process.

4.How did the ancient Chinese use Zhujian and Jianwo to transport brine over long distances? Zhujian (bamboo pipelines) were hollow bamboo tubes bound with strips and sealed with putty, forming continuous pipelines. Using pressure difference and communicating vessels, they transported brine 5–10 kilometers. Due to inflexibility, Jianwo (brine storage pits)—bamboo-wood containers—were built to redirect flow, reduce pipeline pressure, settle impurities, and clear blockages. Jianwo acted as intermediate stations, balancing hydraulic pressure and ensuring steady flow. Together, Zhujian and Jianwo overcame topographical barriers, enabling brine transport from wells to natural gas fields for evaporation.

5.What was the purpose of the "relocate brine for evaporation" strategy in well salt production? The "relocate brine for evaporation" strategy aimed to solve the spatial mismatch between brine sources and fuel (natural gas) fields. By transporting brine to areas with abundant natural gas, producers optimized energy use, reducing the need to transport heavy fuel to remote wells. This strategy enhanced efficiency by centralizing evaporation at gas-rich sites, minimizing labor and material costs. It also facilitated large-scale production, as natural gas provided a more stable and powerful fuel source than traditional firewood, improving salt yield and quality.

6.Why is the Shenhai Well in Zigong considered a milestone in ancient drilling technology? The Shenhai Well in Zigong, completed in 1835 during the Qing Dynasty, became the world’s first well exceeding 1,000 meters (1,001.42 meters). Drilled using the Northern Song’s impact percussion method, it demonstrated the pinnacle of ancient deep-well technology. Its depth surpassed contemporary global standards, showcasing China’s advanced drilling proficiency. The well integrated innovations like bamboo casing, brine-extracting tubes, and pulley systems, embodying the culmination of millennia of technological refinement. Its legacy influenced later mineral exploration, as its techniques were introduced to Europe, advancing global drilling and subterranean resource exploitation.

References [1]张凤婷,田亚男.新时代自贡井盐文化与旅游融合高质量发展路径研究[J].中国井矿盐,2025,56(03):43-46. [2]杨立.舌尖上的“矿物”——来自地层深处的井盐[J].自然资源科普与文化,2025,(02):20-23. [3]海滨.自贡魅力不止于盐[J].百科知识,2025,(04):28-35. [4]Kogel, Jessica E., et al.Industrial Minerals & Rocks (7th ed.)Society for Mining, Metallurgy & Exploration, 2006. [5]Hightower, Mike.Salt Production and Trade in Colonial America University of Virginia Press, 2020.

                                                                                      中国井盐

引言：盐，这种不可或缺的非金属矿产资源，既是工业基石，也是日常生活的必需品。在中国文化中，它位列 “柴米油盐酱醋茶” 之中。作为 “百味之祖”，人类早年便从海洋、湖泊、盐井和盐矿中提取食盐，而井盐生产则彰显了中国古代工匠在钻井技术与卤水利用方面的智慧。

关键词：井盐、钻井、卤水抽取、卤水输送、卤水提升

盐：不可或缺的矿物资源 盐，作为全球应用最广泛的非金属矿物资源，既是工业基石，也是日常生活的必需品。中国谚语 “柴米油盐酱醋茶” 中的 “盐” 特指食盐，一种无处不在的矿物化合物。盐被誉为 “百味之冠”，自古以来便是重要的调味品。人类很早就发现，食盐可从海洋、盐湖、盐井和盐矿中提取。当地下水或地下暗河穿过盐矿时，水体因充分溶解盐分而形成天然卤水，古人通过挖井收集卤水，开创了食盐开采的先河。井盐即通过凿井抽取地下卤水（天然形成或盐矿注水后生成）制成的盐，而用于生产井盐的竖井被称为盐井。

井盐制作中的东方智慧 在古代制盐工艺中，井盐生产以其复杂性独树一帜，彰显了中国古代工匠的卓绝智慧。这一技术历经千年演进：早在战国晚期（公元前 475-221 年），秦国蜀郡太守李冰便在成都平原开凿盐井，汲卤煎盐。早期盐井口径较大，井壁缺乏加固且易坍塌，加之深度有限，只能开采浅层卤水。北宋中期（960-1127 年），川南地区出现了卓筒井 —— 这种小口深井采用 “一字型” 钻头冲击破碎岩石，借助注水或地下水力，以竹筒汲出岩屑与水。卓筒井口径仅碗口大小，极大降低了井壁坍塌风险。工匠们还将大楠竹去节套接，外缠麻绳并涂以油灰，沉入井中作为套管，防止井壁塌陷与淡水渗入。取卤时使用细竹制成的汲卤筒，筒底以熟皮为启闭阀门，单筒可汲卤数斗，井上竖大木架，通过辘轳与滑轮系统提升卤水。卓筒井的出现标志着中国古代深井钻凿技术的成熟。此后盐井深度持续增加，直至清道光十五年（1835 年），四川自贡盐区钻出燊海井，成为当时世界上第一口深度超千米的深井。

钻井：井盐生产的根基 有井才有盐 —— 不同于溶于水体的海盐与湖盐，井盐埋藏于地下，钻井技术因此成为生产的关键。战国晚期，先民已通过人力挖掘大口浅井获取浅层卤水。北宋时期发明的 “冲击式凿井法”，通过人工踩踏碓梢使钻头在井内做垂直往复运动，冲击井底岩石以加深井身。其工序包括定井位、开井口、下石圈、凿大口、下木柱、凿小眼等，与现代油气开采技术原理相通。这一方法将钻井技术从人工挖掘推向机械钻探，开创了人类机械钻井的先河，使深层卤水资源的开发成为可能。历经不断完善，1835 年采用该法开凿的燊海井以超千米深度，标志着中国古代钻井技术的巅峰。冲击式凿井法因占地小、成本低、效率高等优势沿用至今。

汲卤：从井下到地表的输送 早期卤水煎盐与普通水井提水无异，但宋代以后，随着冲击式凿井法的应用，汲卤筒应运而生。这种小于井径的去节竹筒，底部装有熟牛皮制成的单向阀。将汲卤筒沉入井底时，卤水冲开阀门入筒；提升时筒内卤水压力使阀门闭合，从而完成汲卤。提卤动力源自 “天车”—— 井口上方由数百根轻质耐腐杉木捆扎而成的百米木架，天车上下安装定滑轮，通过汲卤绳连接，以牛力牵引提卤。

输卤：跨越地理的智慧 早期井盐多在井旁设灶煎煮，卤水运距极短且技术简单。随着盐业发展，出现了卤水资源丰富区与天然气产区分离的矛盾，“移卤就煎” 的需求推动输卤技术革新。古人以竹笕与笕窝实现卤水长距离输送：竹笕是打通竹节的输卤管道，外以篾条或棕绳捆扎并涂油灰增强强度，多节竹笕首尾相连，利用压差与连通器原理将卤水输送至 5-10 公里外的天然气产区。因竹笕无法急转弯，又发明了由竹管与木板制成的笕窝 —— 这种卤水储存容器既能转换输卤方向、缓解管道压力，又可沉淀杂质、疏通管道。

提卤：征服地形的高差 输卤过程中，若管道入口低于出口，需通过 “提卤站” 提升水位以形成压差动力。提卤站内设井车，以骡马驱动将卤水从低处垂直提升至高处，实现卤水翻山越岭的远距离输送，彻底解决了卤源与燃料的空间矛盾。

浓卤：蒸发工艺的精进 为提高卤水浓度，提卤站将卤水输送至晾晒场高架的枝条架浓卤塔（晒卤台），借助风力与太阳能蒸发水分，达到浓缩卤水、节约燃料、净化卤质、提升盐品的目的。为优化蒸发效率，浓卤塔多建于地势高敞、光照充足处。

煎卤：结晶成盐的终章 历史上井盐制作被称为 “煮盐”“煎盐” 或 “熬盐”，恰如其分地体现了蒸发制盐的工艺本质。卤水被输送至天然气产区的灶房，以天然气为燃料熬煮，最终结晶成盐。 中国古代完整的钻井与制盐技术体系，为人类文明与世界科学进步作出了深远贡献。这一技术传入欧洲后，在全球矿产勘探中广泛应用，有力推动了世界钻井技术发展与地下资源开发。

术语表达 1. Well salt 井盐，指通过抽取地下卤水（天然形成或盐矿产生）并经蒸发等工艺制成的盐，从盐井中提取。 2. Zhuotong Wells 卓筒井，北宋中期在四川南部出现的窄口径深井，采用 “一字型” 钻头通过冲击法破碎岩石，是古代深钻技术成熟的标志。 3. Impact percussion method 冲击钻探法，北宋时期革新的钻井技术，通过工人踩踏踏板驱动钻头垂直冲击岩石，加深井深，类似于现代油气开采技术。 4. Shenhai Well 燊海井，1835 年（清道光年间）在四川自贡建成，是世界上第一口深度超过 1000 米的盐井，象征古代钻井技术的巅峰。 5. Brine-extracting tube 汲卤筒，宋代以后用于提取卤水的竹筒装置，底部装有牛皮止回阀，下放时阀门打开吸入卤水，提升时密封卤水。 6. Zhujian 竹笕，古代用竹筒制成的输卤管道，通过压差和连通器原理运输卤水，可延伸 5-10 公里，需配合储卤坑（Jianwo）使用。 7. Jianwo 储卤坑，竹木结构的卤水储存容器，用于中转卤水、降低管道压力、沉淀杂质及疏通堵塞，辅助竹笕长距离运输。 8. Zhitiaojia 枝架，卤水浓缩塔，建在高处的露天平台，利用阳光和风力蒸发卤水，提高盐浓度，减少煮盐时的燃料消耗。 9. Tianche 天车，井盐生产中用于提升卤水的机械装置，由固定滑轮和卤绳组成，借助牛力驱动滑轮系统完成提卤。 10. "Relocate brine for evaporation" strategy “移卤就灶” 策略，指将卤水运输到天然气产区进行蒸发制盐，解决卤水与燃料的空间不匹配问题，推动输卤技术创新。

问题 1.卓筒井在中国古代井盐生产史上的意义是什么？ 卓筒井于北宋中期（960–1127 年）出现于四川南部，是中国古代井盐生产的关键突破。其采用 “一字型” 钻头的小口深井冲击钻探法，通过冲击破碎岩石。该技术将井口直径缩小至碗口大小，并用楠竹套管（以麻绳和油灰密封）加固井壁，降低坍塌风险。带皮革单向阀的竹制汲卤筒与辘轳滑轮系统的创新，实现了深层卤水的高效采集。卓筒井开创了世界最早的深井钻探技术，为清代燊海井突破千米深度等后续发展奠定了基础。

2.北宋时期的 “冲击钻探法” 如何革新了井盐钻井技术？ 北宋的 “冲击钻探法” 通过引入机械垂直冲击革新了钻井技术。工人踩动踏板驱动钻头，逐层破碎岩石以加深井深，流程包括选址、开挖井口、安装石圈、大口径钻探、木桩支护及小口径精修，与现代油气开采技术原理相似。该方法以机械效率取代手工浅挖，实现了深层卤水的开采，开创了利用钻头破碎岩石的先河，降低劳动强度并提升深井可行性。1835 年燊海井的成功印证了其在推动地下资源勘探中的深远影响。

3.“汲卤筒” 的结构设计是怎样的？它如何实现卤水的采集？ 汲卤筒是去节的竹制圆筒，直径小于井眼，底部装有熟牛皮单向阀。当筒下放至井底时，水压使阀门开启，卤水流入；提升时，筒内卤水压力压迫皮革阀关闭，锁住卤水。该设计利用流体静压和单向流通原理实现高效采卤。配合定滑轮与卤绳，通过 “天车” 等系统借助牛力驱动提升装置，简化采集流程。

4.古代中国人如何利用竹笕（Zhujian）和储卤坑（Jianwo）实现卤水的长距离运输？ 竹笕（Zhujian）是用竹条捆绑、油灰密封的空心竹管，连接成连续管道，利用压差和连通器原理输送卤水 5–10 公里。因竹笕无法急转弯，故设置储卤坑—— 竹木结构的容器，用于分流、减压、沉降杂质及疏通堵塞。作为中间站点平衡水压，保障流量稳定。二者结合克服地形障碍，实现卤水从盐井到天然气灶场的运输。

5.井盐生产中 “移卤就灶” 策略的目的是什么？ “移卤就灶” 策略旨在解决卤水产地与燃料（天然气）场的空间错配问题。通过将卤水运输至天然气富集区，生产者优化能源利用，减少向偏远盐井运输笨重燃料的需求。该策略通过在产气区集中煎盐提升效率，降低人力与物料成本，同时因天然气较传统木柴更稳定高效，可提高盐产量与品质，推动规模化生产。

6.为何自贡燊海井被视为古代钻井技术的里程碑？ 自贡燊海井于清代道光年间（1835 年）建成，是世界上第一口超千米（1001.42 米）的深井。其采用北宋冲击钻探法，代表古代深井技术的巅峰，深度超越同时期全球水平，彰显中国先进的钻井能力。该井集成竹套管、汲卤筒、滑轮系统等创新，凝聚千年技术精华。其技术传入欧洲后影响后世矿产勘探，推动全球钻探与地下资源开发，故成为古代钻井技术的里程碑。

参考文献 [1]张凤婷,田亚男.新时代自贡井盐文化与旅游融合高质量发展路径研究[J].中国井矿盐,2025,56(03):43-46. [2]杨立.舌尖上的“矿物”——来自地层深处的井盐[J].自然资源科普与文化,2025,(02):20-23. [3]海滨.自贡魅力不止于盐[J].百科知识,2025,(04):28-35. [4]Kogel, Jessica E., et al.Industrial Minerals & Rocks (7th ed.)Society for Mining, Metallurgy & Exploration, 2006. [5]Hightower, Mike.Salt Production and Trade in Colonial America University of Virginia Press, 2020. 我保证在本课程期末论文写作过程中未使用人工智能辅助工具

https://bou.de/u/wiki/User:Zhang_Yubo#Final_Paper 中国水墨画留白美学 The Aesthetics of “Negativve Space”in Chinese Ink Painting

                                                 Negative Space: The Breathing Rhythm of Chinese Art

I. Emptiness as Universe In Ma Yuan’s Fishing Alone on a Cold River(Song Dynasty), a solitary boat floats on silk blanketed by 70% negative space. This void embodies Guo Xi’s principle: "To manifest a mountain’s height, veil its waist with mist". Negative space (liúbái) here transforms into clouds, rivers, and sky—a realm where meaning germinates. As Qing critic Hua Lin noted: "White is the paper’s whiteness—the mountain’s sunlit plane, the sky beyond the frame—all belong to this whiteness."

II. Philosophical Foundations 1. Daoist "Non-Being" Ni Zan’s Rongxi Studio translates Laozi’s teaching—"A room’s usefulness lies in its empty space"—into an ink-washed Taihu Lake. The blank water symbolizes Zhuangzi’s "empty room generates light," where vitality flows in formlessness.

2. Zen "Emptiness" Liang Kai’s Splashed Ink Immortal hides facial features in ink clouds. Like Zen koans, its negative space invites satori (sudden enlightenment). D.T. Suzuki called it "the breath of the soul".

3. Confucian Harmony Wen Zhengming’s Studio of True Appreciation* balances study and mountains with misty blankness, reflecting The Book of Rites’ ideal: "Harmony positions heaven and earth."Negative space here moderates excess, embodying Confucian restraint. File:Zhenhezhaitu.jpg

III. Technical Evolution ：Five Classical Paradigms of Negative Space in Chinese Ink Painting

In Fan Kuan’s Northern Song masterpiece *Travelers Among Mountains and Streams*, the "Mist-Locked Waist" (烟霞锁腰) technique pioneered the use of horizontal negative space at mountain midriffs. By interrupting ridgelines with blank voids, these areas transformed into drifting clouds, amplifying Mount Zhongnan’s precipitous grandeur while shrouding it in ethereal mystery. Xia Gui of the Southern Song elevated this spatial wisdom in *Pure and Remote View of Streams and Mountains*. His "Water-Mirror Emptiness" (水镜涵虚) method rendered midgrounds as expansive voids – punctuated by distant sails and islets – that dissolved boundaries between sky and water, creating boundless Zen-inspired realms where light and clouds merged in liquid reflection.

The Qing dynasty’s Bada Shanren revolutionized the art in *Fish at Play*. Through "Broken Strokes, Unbroken Spirit" (笔断意连), fish tails dissolved into emptiness with fading ink, their open-fin lines implying current flow. This kinetic suggestion materialized Zhuangzi’s philosophical parable of "fish joy" (鱼乐) into visual poetry where form and void breathed as one. Yuan artist Wang Ming forged a divergent path in *Ink Plum Blossoms*. His "Snow-Window Clarity" (雪窗莹澈) paradigm left silk backgrounds untouched, while dry-brush strokes sketched plum branches as sparse as frost. Against this wintry purity, blossoms emerged as icy jewels, their isolation crystallizing the scholar’s unyielding spirit.

When Wen Zhengming inscribed colophons for *The Studio of True Appreciation*, he perfected "Scholarly Spacing" (书卷布白). Strategic placement of text blocks created rhythmic "breaths" between characters, widened line spacing evoked parchment’s texture, and vermilion seals anchored voids – fusing poetry and painting into a single pulse of literati elegance.

These five paradigms trace negative space’s evolution from Tang to Qing: Song monumental landscapes birthed mist and water illusions; Ming loyalists transmuted them into philosophical vessels; scholar-painters ultimately refined them into emblems of refined solitude. Together, they embody the artistic truth: "Negative space is no void, but the pivotal mechanism of world-making." IV. Contemporary Transformations 1. Graphic Design Kan Tai-keung’s poster *Free* suspends a seal in void space, modernizing the proverb "Contain universe in a mustard seed".

2. Architecture I.M. Pei’s Suzhou Museum frames "rock paintings" through moon gates, where blank walls become Ni Zan’s scroll. The void borrows scenery (jièjǐng), turning space into a walking meditation.

3. Cinema In Crouching Tiger, bamboo fight scenes dissolve into monochrome, turning action into living ink wash. Zhang Yimou’s Shadow uses monochrome blanks as metaphors for power.

Epilogue Negative space embodies China’s gentle compromise with the cosmos. From Ni Zan’s desolate lake to Wu Guanzhong’s white-walled villages, it remains the poetic dwelling of Eastern spirit. In an age of saturation, only those who leave space can hear the echoes of thought and the breath of soul.

References  

1. KONG Wencheng."The Art of Negative Space in Chinese Painting and Its Aesthetic Value"[J]. *World of Calligraphy and Painting*, 2025(1). // Traces historical development and applications across three painting genres 2. ZONG Baihua.The Realm of Art* [M]. Peking University Press, 1987. // Explores "Where emptiness resides, spiritual energy flows" 3. WANG Fengxin."Brief Discussion on Beauty Creation through Negative Space in Chinese Painting" [J]. *Academic Forum, 2023. // Analyzes five techniques and their Daoist/Zen connections 4. SONG Yu."Negative Space: The Artistic 'Sanctuary' of Chinese Literati"[N]. Wenhui Daily, 2023. // Interprets Ni Zan's scholarly spirit in blank spaces 5. ZHU Liangzhi.True Water Has No Scent[M]. Peking University Press, 2009. // Examines Zen structure in Bada Shanren's spatial composition 6. James CAHILL.Hills Beyond a River[M]. SDX Joint Publishing, 2009. // Comparative study of Song-Yuan landscape voids 7. Palace Museum (Ed.).Harmony of All Creatures: Special Exhibition Catalog of Animal Paintings [M]. Palace Museum Press, 2025. // Case study: Ink Grapes in bird-and-flower painting 8. CHENG Guodong.Dynamics in Ink: Water Margin Woodcuts since Late Ming[M]. Shanghai People's Fine Arts Publishing, 2025. // Analyzes Chen Hongshou's figure painting techniques

                                                              水墨留白：中国艺术的呼吸之道

一、空纳万境：留白的美学密码 南宋马远的《寒江独钓图》中，一叶孤舟浮于绢素，七成画面留白。这看似虚无的空白，实则是北宋郭熙“山欲高，烟霞锁其腰”的智慧实践——以“无”构建寒江的苍茫宇宙，引导观者在空白中听见风声、感知天地寂寥。留白绝非空缺，而是“计白当黑”的主动经营：空白处可化云烟、流水、天空，甚至成为意境的生发之地。如清代华琳《南宗抉秘》所言：“白即纸素之白，凡山石之阳面处，画外之水天空阔处，皆此白也。”

二、哲学根基：道禅儒的思想墨痕 1. 道家之“无”的宇宙观 老子“凿户牖以为室，当其无，有室之用”的哲思，在倪瓒《容膝斋图》中化为太湖的空白。水面不着一笔，却似庄子“虚室生白”的隐喻——空白处涌动未形之物的生命力。道家“有无相生”的辩证思维，使留白成为“道”的视觉化身，在虚无中包蕴无限可能。

2. 禅宗之“空”的顿悟 梁楷《泼墨仙人图》）中，仙人袍袖飞白如云，五官隐于混沌。这种“不立文字”的表达，恰如禅宗公案：空白是棒喝前的静默，待观者顿悟画外之音。日本学者铃木大拙评其：“留白是心灵的呼吸”，空白处即禅心映照之地。

3. 儒家“中和”的调和 文徵明《真赏斋图》以云气留白衔接书斋与远山，体现《礼记》“致中和，天地位焉”的秩序感。留白在此成为虚实平衡的调节者，避免画面过满，契合儒家“过犹不及”的节制美学。

三、技法演化：五类留白范式

北宋范宽在《溪山行旅图》中开创的"烟霞锁腰"范式，通过在山腰处施以横向留白阻断山势轮廓，使空白自然转化为流动云气，不仅强化了终南山险峻高耸的视觉冲击，更营造出云雾缭绕的森然气象。南宋夏圭则将这种空间智慧推向新境，在《溪山清远图》中以"水镜涵虚"手法处理中景，大片空白经帆影点缀化为意象水体，天光云影倒映其中，消弭了天水界限，构筑出空明无界的禅意空间。至清初八大山人笔下，留白技法产生质变，《鱼乐图》中"笔断意连"的创造实践使游鱼尾部墨色渐淡融于空白，未闭合的鳍尾线条暗示水流方向，以虚笔延展动态，将庄子"鱼乐"哲思转化为物境相融的视觉诗篇。元代王冕的《墨梅图》则另辟蹊径，素白绢底不施渲染的"雪窗莹澈"范式，以飞白笔法勾勒疏落如雪的墨梅，在零下视觉温度感中铸就寒梅傲骨的人格象征，莹澈空白衬出冰魄玉魂的孤高之境。而明代文徵明在《真赏斋图》题跋中展现的"书卷布白"范式，通过经营题跋位置留出气口、扩大行距、朱文印章平衡空白等手法，使文字与图像形成呼吸韵律，在书画互释的节奏美中凝结成文人雅逸的精神图腾。这五种范式浓缩着唐至清的留白演进史：北宋全景山水奠基的烟霞水镜之法，在遗民画家笔下蜕变为笔断意连的哲思载体，最终于文人画中结晶为雪窗书卷的雅逸之境，共同诠释着"留白非空，乃造境枢机"的艺术真谛。

四、当代转译：留白的生命力 1. 视觉设计的“墨韵新声” 靳埭强海报《自在》将朱砂印章悬于大片留白中，如宇宙微尘，演绎“纳须弥于芥子”的现代版。空白在此超越装饰，成为东方哲思的视觉转译。

2. 建筑空间的“虚实借景” 苏州博物馆“片石假山”：贝聿铭以粉墙为纸，山石为墨，月洞门框出虚空。门后无实景，却以“虚空借景”呼应倪瓒的太湖留白，让观者在行走中感受时空流动。

3. 电影语言的“水墨韵律” 《卧虎藏龙》竹海打斗场景，李安以慢镜头虚化背景，武舞化作绢本上的水墨晕染。张艺谋《影》的黑白影调，更是将留白升华为权力博弈的隐喻。 结语： 留白是中国人对宇宙的温柔妥协——当西方艺术追求满幅的感官征服时，东方智慧在素绢的空白处埋藏密钥。从倪瓒荒寒的太湖到吴冠中《双燕》中的粉墙黛瓦，留白始终是东方精神的诗意栖居。它不仅是艺术语言，更是一种生命态度：在信息过载的时代，懂得留白的人生，方能容纳思想的回响与灵性的呼吸。 参考文献 1. 孔文成.《中国画中的留白艺术及其美学价值》[J]. 书画世界，2025(1). // 定义留白的历史脉络与三类题材应用 2. 宗白华.《艺境》[M]. 北京大学出版社，1987. // 阐释“空白处即灵气往来之所” 3. 王凤欣.《小议中国画“留白”造美》[J]. 学术论坛，2023. // 分析五类留白技法与禅道关联 4. 宋羽.《留白，中国文人的艺术“自留地”》[N]. 文汇报，2023. // 解读倪瓒留白中的文人精神 5. 朱良志.《真水无香》[M]. 北京大学出版社，2009. // 论证八大山人留白的禅意结构 6. 高居翰.《隔江山色》[M]. 三联书店，2009. // 宋元山水留白的比较研究 7. 故宫博物院.《万物和生——动物题材绘画特展图录》[M]. 故宫出版社，2025. // 提供花鸟画留白案例《墨葡萄图》 8. 程国栋.《图写奋袂——晚明以来的<水浒>版画》[M]. 上海人美，2025. // 分析陈洪绶人物画留白手法

我在此保证，我没有使用AI的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Zhu_Huiting#Final_Paper 炎帝陵 Yandi Mausoleum

Yandi Mausoleum Abstract Yandi Mausoleum is one of the world's three most famous ancestor mausoleums. Located in Luyuan Slope, Yanling County, Hunan Province, it is a sacred place for the descendants of Yan Emperor and Huang Emperor to pay homage, worship ancestors, and travel. Introduction: The Yandi Mausoleum, “the final resting place” of a progenitor of Chinese civilization,whose name is Yan Emperor Shennong, is located at Luyuanpi, west of Yanling County. It encompasses several key areas: the Shennong Temple for worship, the Mausoleum Hall for paying respects, the Shennong Garden for reflection, the Huangshan Scenic Area, and the Ruisui River landscape belt, serving as a national model base for patriotic education and a patriotic education base for overseas Chinese returning to China, bearing the important mission of promoting patriotic spirit. Additionally, it is a national key cultural relic protection unit and a national 5A-level tourist attraction, providing an important venue for overseas Chinese to learn about China's history. The Yan Emperor's Mausoleum is listed among China's Top Ten Classical Mausoleum Gardens and has been selected for the preliminary list of China's National Natural and Cultural Dual Heritage, making it one of Hunan Province's Top Ten Cultural Landmarks, with extremely high cultural value and symbolic significance[1].(Xinxiang Review,2021,(09):65.)

Origin of Emperor Yan: During the middle of the Spring and Autumn Period, Sikuang Jizi said, “In ancient times, Shaodian married a woman from the Youjiao clan, giving birth to the Yellow Emperor and the Yan Emperor. The Yellow Emperor was born by the Ji River, and the Yan Emperor was born by the Jiang River. Though born in the same place, they had different virtues. Therefore, the Yellow Emperor became the Ji clan, and the Yan Emperor became the Jiang clan. The two emperors used their armies to assist each other, due to their differing virtues.” According to Wei Zhao's commentary, ‘assist’ should be interpreted as “crowd.” “Jī” means “to extinguish.” This is the earliest recorded use of the term “Yandi” in the generations-old texts[2].(Ji Chengming,2025,45(01):103-110.) Sikuang Jizi believed that the Yellow Emperor was of the Ji clan and the Yan Emperor was of the Jiang clan, and that the two were brothers, with Shaodian as their father and Youjiao as their mother. This is a mythical story fabricated by Sikuang Jizi, and it is the earliest recorded account of the surnames of the Yellow and Yan Emperors[7](Lee ,Jungab,2008,(20):85-112.) . Regarding the specific connotation of the title “Yandi,” Tian Zhaoyuan argues that “Yandi in Chinese history is not the exclusive title of a single individual, but rather a title denoting a specific leadership position, shared by many leaders who have held this position throughout history.”[3](Tian Zhaoyuan,2007,03.)He points out that “Yandi Shennong” refers to a specific leader from the Shennong clan who held the position of Yandi, and the same applies to “Yandi Chiyou”,“Yandi Lishan”,“Yandi Daiting” and “Yandi Guiyang” .Therefore, “Yandi does not necessarily refer to a single individual but rather serves as a collective term for an ethnic group.”[4](Fang Ming,2013.)Hou Wenyi emphasized that “the legendary image of the Yan Emperor is a symbol of ethnic culture,” viewing the Yan Emperor as “an ethnic embodiment accumulated and created in the earliest poetic historical traditions.”[5](Hou Wenyi，2005,159)In the development of later cultures, the title of Yan Emperor came to represent a tribal leader or an era, and also became a cultural symbol of the ethnic group.

Development of the Yan Emperor's Mausoleum: The earliest records of the burial site of the Yan Emperor Shennong can be traced back to the Jin Dynasty, in Huangfu Mi's “Chronicle of Emperors and Kings,” which states that the Yan Emperor “reigned for 120 years before passing away and was buried in Changsha.” During the Song Dynasty, Luo Mi's “Road History” provided a more detailed account, stating that the Yan Emperor “was buried at the end of the tea village in Changsha, which is called Chaling.” After the Eastern Han Dynasty, Yan Emperorwas revered as “Yan Emperorthe Divine Farmer,” and his status grew increasingly prominent. Subsequently, out of reverence for him, people began to consider building a tomb for him, but this process was fraught with twists and turns and hardships. It was not until the fifth year of the Qian De era of the Northern Song Dynasty (967 AD) that the Song Dynasty government selected a suitable location in the Kangle Township of Chaling County, Hengzhou (now the Yuelan Village of Yuelan Town, Yuelan County, Hunan Province), and finally constructed the Yan Emperor's Mausoleum and the Yan Emperor's Temple to commemorate this ancestor of the Chinese nation. During the nearly 100 years of the Yuan Dynasty, the court only conducted sacrifices at the Yan Emperor's Mausoleum, with no records of imperial decrees for repairs. During the Ming Dynasty, there were three major repairs: in the third year of the Hongwu era (1370), Zhu Yuanzhang issued an imperial decree for repairs; in the third year of the Jiajing era (1524), Yi Zongzhou expanded and rebuilt it; and in the 48th year of the Wanli era (1620), the county magistrate dispatched officials to raise funds for a major renovation. During the Qing Dynasty, there were approximately nine repairs: in the fourth year of Shunzhi (1647), it was damaged and repaired by the government and the people; in the 35th year of Kangxi (1696), Gong Jiawei supervised the repairs; in the 11th year of Yongzheng (1733), Zhang Jun rebuilt it and established its form; in the 17th year of Daoguang (1837), Yu Changhui presided over the largest repair. Repairs in the 4th year of the Republic of China (1915), the 12th year (1923), and the 25th year (1936) were all abandoned midway, while a major repair was carried out under the supervision of Xue Yue in the 29th year (1940). After the founding of the People's Republic of China, a fire broke out on New Year's Eve in 1954, and the temple was damaged during the Cultural Revolution. From June 28, 1986, to October 1988, the Ling County People's Government oversaw the restoration, slightly expanding the scale of the temple.

Cultural Value: As one of the founders of Chinese civilization, Yan Emperormade an indelible contribution to the prosperity and development of the Chinese nation. For thousands of years, Yan Emperorand Emperor Huang have been revered as the ancestors of the Chinese nation, and have been deeply respected by their descendants. The descendants of the Yan and Huang clans have felt the timeless and ever-renewing personal charm of the Yan Emperor. Yan Emperor culture combines the profound heritage of five thousand years of history with vibrant vitality, flowing through our veins as our cultural genes and identity markers, imparting a sense of belonging and empowering us to soar higher and journey farther. The Yan Emperor's Mausoleum has a long history and is renowned as the “First Mausoleum of China.” Its immense influence and international prominence reflect the collective aspirations of the Chinese people. The Yan Emperor's Mausoleum has become a symbol of the Chinese nation's ancient history and culture, serving as a spiritual bond and pillar for descendants of the Yan and Huang emperors worldwide. We share the same ancestor; our blood is thicker than water. We belong to the same Chinese nation; our bond is as strong as mountains. The architectural layout of the Yan Emperor's Mausoleum authentically reflects its spatial relationships as a site for rituals honoring the Yan Emperor, holding significant cultural relic value for the study of ritual culture. The ancient ritual texts preserved within the mausoleum contain rich historical information, offering important historical documentary value for exploring the political, economic, and social developments of past dynasties. The tombstone of the Yan Emperor's Mausoleum was handwritten by Shen Daokuan, the county magistrate of Ling County during the Daoguang era of the Qing Dynasty, and together with historical texts such as The Chronicles of Emperors and Kings, The Road History, and The Yanling Gazetteer(DaoguangEdition)[6], it forms a complete historical chain, authentically reflecting the development and changes of the Yan Emperor's Mausoleum, and holds significant cultural relic value.(Shen Qinyu,2015,33(06):134-137.DOI:10.13942/j.cnki.hzjz.2015.06.030) As a prominent example of ancient Chinese geomancy, the Yanling Mountain where the Yan Emperor's Mausoleum is located resembles a mighty dragon. Surrounded by the Lishui River, the peaks of Baihe and Bijia echo each other in the distance, while the ridges of Jinzi and Huangyang complement one another. Connected to the Luoxiao and Hengyang mountain ranges, the undulating peaks form a feng shui treasure land. The cultural landscapes within the mausoleum, such as the Angel Pavilion, Yongfeng Terrace, Imperial Stele Garden, Shennong Grand Hall, Holy Fire Platform, and Yan Mountain Stele Forest, complement natural landmarks like the Dragon Brain Stone, Dragon Claw Stone, and Medicine Washing Pool, showcasing outstanding landscape artistic value.

References: [1]Yan Di Ling（炎帝陵）[J].Xinxiang Review（新湘评论）,2021,(09):65. [2]吉成名.On the Historical and Cultural Value of the Yan Di Ling at Luyuan Pond（论鹿原陂炎帝陵的历史文化价值）[J].Journal of Xinyang Normal University (Philosophy and Social Sciences Edition)【信阳师范大学学报(哲学社会科学版)】,2025,45(01):103-110. [3]田兆元.On the Various Models of the Yan Emperor's Title and the Cultural Logic of the Han Dynasty. （论炎帝称谓的诸种模式与两汉文化逻辑.）Journal of East China Normal University.（华东师范大学学报），2007，03. [4]方铭.Several Issues Regarding Yan Emperor Research. （有关炎帝研究的几个问题）.Chinese Cultural Studies.（中国文化研究），2013 春之卷. [5]侯文宜. An Examination of the Legends and Folk Customs Related to the Yan Emperor in the Surrounding Areas of Yangtou Mountain in Shangdang, Shanxi. Paper included in the collection edited by Wang Shuxin and Meng Shikai.（山西上党羊头山周边地区炎帝传说、民俗考释.论文收录于论文收录于王树新、孟世凯主编. ）Yan Emperor Culture. （炎帝文化.）Beijing: Zhonghua Book Company（北京，中华书局），2005，159 [6]沈沁宇.A Preliminary Analysis of the Cultural Relics Protection Plan for the Yan Emperor's Mausoleum in Zhuzhou City, Hunan Province （湖南省株洲市炎帝陵文物保护规划浅析）[J].Central China Architecture（华中建筑）,2015,33(06):134-137.DOI:10.13942/j.cnki.hzjz.2015.06.030. [7]Lee ,Jungab .Chinese Recognition of Fire Emperor, Yellow Emperor and Nation in Modern Times[J].Dongbuga Yeoksa Nonchong,2008,(20):85-112.

Questions: 1. When was the Mausoleum of the Yan Emperor first built? 2. Where does the title “Yan Emperor” come from? 3. What are the cultural connotations and significance of the Mausoleum of the Yan Emperor?

Answers: 1.In 967 AD. 2.“Yandi” (Yan Emperor) in Chinese history is not the exclusive title of a single individual, but rather a title denoting a specific leadership position, shared by many leaders who have held this position throughout history. 3. It serves as a symbol of ancient Chinese history and culture and is a spiritual bond for descendants of the Yan and Huang emperors worldwide. Its architectural layout is of great cultural relic value for studying ritual culture. The ancient ritual texts within the mausoleum provide important historical documentary value for exploring the political, economic, and social developments of past dynasties. Additionally, the mausoleum's cultural landscapes and natural landmarks showcase outstanding landscape artistic value.

Words and Expressions: patriotic education base 爱国主义教育基地 national key cultural relic protection unit 全国重点文物保护单位 5A-level tourist attraction 国家 5A 级旅游景区 Top Ten Classical Mausoleum Gardens 十大古典陵墓园林 National Natural and Cultural Dual Heritage 双遗产（国家自然与文化双遗产） Chronicle of Emperors and Kings 《帝王世纪》 cultural gene 文化基因

摘要： 炎帝陵为举世闻名的始祖三陵之一，它位于湖南省炎陵县鹿原陂，是炎黄子孙祭祖朝圣、旅游观光的圣地。

介绍 炎帝陵是中华民族人文始祖炎帝神农氏长眠之地，位于炎陵县城西的鹿原陂，包括神农大殿祭祀区、陵寝大殿拜谒区、神农园缅怀区、皇山游览区以及洣水风光带。它集众多“荣誉”于一身，作为全国爱国主义教育示范基地，是中华全国归国华侨爱国主义教育基地，肩负着弘扬爱国精神的重要使命。同时它是全国重点文物保护单位、国家AAAAA级旅游景区，为归国华侨了解祖国历史提供了重要场所。炎帝陵位列中国十大古典陵墓园林，同时膺选中国国家自然与文化双遗产预备名录，是湖南省十大文化地标之一，具有极高的文化价值与象征意义[1]。 炎帝由来： 春秋中期,司空季子曰:“昔少典取于有蟜氏,生黄帝、炎帝。黄帝以姬水成,炎帝以姜水成。成而异德,故黄帝为姬,炎帝为姜,二帝用师以相济也,异德之故也。”根据韦昭的评释,“济”当为“挤”。挤,灭也。这是世代相传文献中“炎帝”二字的最早出处[2]。司空季子认为黄帝是姬姓,炎帝是姜姓,他们两人是同胞兄弟,父亲是少典,母亲是有蟜氏。这是司空季子虚构的神话故事,是关于黄、炎二帝姓氏的最早记录[7]。 对于炎帝这一称呼的具体内涵，田兆元认为“中华历史上的炎帝不是某一个人的独称，而是一个特定的首领位置的称号，是由许多曾经担任这一职位的头领的共称。”[3]他指出，“炎帝神农氏”是指神农氏族中担任炎帝职位的某一位首领，“炎帝蚩尤氏”“炎帝厉山氏”“炎帝大庭氏”“炎帝归藏氏”等亦同此理。因此，“炎帝，并未必所指一人，而是一个族群的代称。”[4]侯文宜则强调：“传说中的炎帝形象是一种民族文化符号象征”，将炎帝看作是“最初诗性化历史传承中的一种积累创造的民族化身。”[5]在后世文化的发展中，炎帝这一称谓代表一部族头领，或代指一个时代，同时也已成为民族的文化象征。 炎帝陵发展： 关于炎帝神农氏埋葬地的记载，最早文献追溯到晋代皇甫谧撰写的《帝王世纪》炎帝“在位一百二十年而崩，葬长沙。”到了宋代，罗泌所撰《路史》对此的记叙更为详细，称炎帝“崩葬长沙茶乡之尾，是曰茶陵”。自东汉以后，炎帝被尊称为“炎帝神农氏”，其地位也日益崇隆。随后，人们出于对其的尊崇，开始萌生为他营建陵墓的想法，但这一过程充满了曲折与艰辛。直到北宋乾德五年（967年），宋朝政府才在衡州茶陵县康乐乡白鹿原（今湖南省炎陵县鹿原镇炎陵村鹿原陂）选定了一处合适的地点，最终修建了炎帝陵和炎帝庙，以此来纪念这位中华民族的始祖。 元代近百年间，朝廷仅祭祀炎帝陵，未见诏修记载。明代有三次大规模修葺：洪武三年（1370 年），朱元璋诏修；嘉靖三年（1524 年），易宗周拓宽重建；万历四十八年（1620 年），县令派人募款重修。清代约有 9 次修葺：顺治四年（1647 年）遭破坏后官民补葺；康熙三十五年（1696 年），龚佳蔚督工整修；雍正十一年（1733 年），张浚重建定形制；道光十七年（1837 年），俞昌会主持最大修复。民国四年（1915 年）、十二年（1923 年）、二十五年（1936 年）修葺均中途而废，二十九年（1940 年）薛岳主持大修。新中国成立后，1954 年除夕失火， “文革” 期间遭破坏，1986 年 6 月 28 日至 1988 年 10 月，酃县人民政府主持修复，规模稍扩大。 文化价值： 作为中华文明的缔造者之一的炎帝，为中华民族的繁荣昌盛做出了不可磨灭的贡献。几千年来，炎帝神农氏和黄帝轩辕氏并列为中华民族的鼻祖，受到炎黄子孙的世代敬仰。炎黄子孙从中感受到炎帝千古不灭、历久弥新的人格魅力。炎帝文化兼具五千年历史的深厚底蕴与蓬勃朝气，融入我们的血液，成为我们的文化基因和身份标识，赋予我们归属感，助力我们飞得更高、走得更远。 炎帝陵历史悠久，素有“神州第一陵”之美誉，其巨大影响力和国际知名度凝结着华夏儿女的心。炎帝陵已成为中华民族悠久历史文化的标志，是海内外炎黄子孙的精神纽带和支柱。共一个先人，血浓于水；同一个中华，情重如山。 炎帝陵的文物建筑形制真实反映了其作为祭祀炎帝活动场所的空间关系，对研究祭祀文化具有重要文物价值。陵内保存的古代祭文碑，蕴含着丰富的历史信息，对探究历代政治、经济和社会发展具有重要的历史文献价值。炎帝墓的墓碑由清道光四年酃知县县沈道宽手书，与《帝王世纪》《路史》《（道光）炎陵志》[6]等史籍构成完整的历史链条，真实反映了炎帝陵的发展与变迁，具有重要文物价值。 作为中国古代堪舆学的杰出代表，炎帝陵所在的炎陵山，恰似一条莽莽巨龙。洣水环绕，白鹤、笔架诸峰遥相呼应，金紫、黄阳诸岭相互映衬，与罗霄、衡岳山脉相连，山峦起伏，堪称风水宝地。陵内天使馆、咏丰台、御碑园、神农大殿、圣火台、炎山碑林等人文景观，与龙脑石、龙爪石、洗药池等自然胜迹相互映衬，展现出突出的景观艺术价值。

参考文献： [1] Yan Di Ling（炎帝陵）[J].Xinxiang Review（新湘评论）,2021,(09):65. [2](Ji Chengming)吉成名.On the Historical and Cultural Value of the Yan Di Ling at Luyuan Pond（论鹿原陂炎帝陵的历史文化价值）[J].Journal of Xinyang Normal University (Philosophy and Social Sciences Edition)【信阳师范大学学报(哲学社会科学版)】,2025,45(01):103-110. [3](Tian Zhaoyuan)田兆元.On the Various Models of the Yan Emperor's Title and the Cultural Logic of the Han Dynasty. （论炎帝称谓的诸种模式与两汉文化逻辑.）Journal of East China Normal University.（华东师范大学学报），2007，03. [4](Fang Ming)方铭.Several Issues Regarding Yan Emperor Research. （有关炎帝研究的几个问题）.Chinese Cultural Studies.（中国文化研究），2013 春之卷. [5](Hou Wenyi)侯文宜. An Examination of the Legends and Folk Customs Related to the Yan Emperor in the Surrounding Areas of Yangtou Mountain in Shangdang, Shanxi. Paper included in the collection edited by Wang Shuxin and Meng Shikai.（山西上党羊头山周边地区炎帝传说、民俗考释.论文收录于论文收录于王树新、孟世凯主编. ）Yan Emperor Culture. （炎帝文化.）Beijing: Zhonghua Book Company（北京，中华书局），2005，159 [6](Shen Qinyu)沈沁宇.A Preliminary Analysis of the Cultural Relics Protection Plan for the Yan Emperor's Mausoleum in Zhuzhou City, Hunan Province （湖南省株洲市炎帝陵文物保护规划浅析）[J].Central China Architecture（华中建筑）,2015,33(06):134-137.DOI:10.13942/j.cnki.hzjz.2015.06.030. [7]Lee ,Jungab .Chinese Recognition of Fire Emperor, Yellow Emperor and Nation in Modern Times[J].Dongbuga Yeoksa Nonchong,2008,(20):85-112. 我保证在本课程期末论文写作过程中未使用人工智能辅助工具。

问题： 1.炎帝陵初建于什么时候？ 2.炎帝称谓的由来？ 3.炎帝陵的文化内涵和意义分别是什么?

https://bou.de/u/wiki/User:Su_Xing#Final_Paper 《西厢记》The Romance of the Western Chamber

202330092034 粟星 Su Xing Abstract: The Romance of the Western Chamber is one of the four great classical Chinese plays. Penned by the renowned Yuan Dynasty playwright Wang Shifu between 1295 and 1307, it depicts the love story of scholar Zhang Junrui and Minister's daughter Cui Yingying, who, aided by the maidservant Hongniang, overcome numerous obstacles to be together. This paper summarises the plot and delves into Zhang Junrui's character traits and the play's central theme.

I. Story Summary The story of The Romance of the Western Chamber is set in the Tang Dynasty. Cui Yingying, the Prime Minister’s daughter , lost her father. Her mother, Lady Cui, accompanied by Cui Yingying, the maid Hongniang, and other companions, traveled to Boling to bury him. Due to the long journey, they temporarily stayed at Pujiu Temple. Zhang Sheng (Zhang Gong), a talented scholar on his way to Chang’ an for the imperial exams. Upon encountering Cui Yingying, he was instantly captivated by her beauty and grace, but their different social statuses made it hard for him to approach her. Soon, the rebel general Sun Feihu surrounded Pujiu Temple with his troops, aiming to take Cui Yingying as his wife.With no alternative, Lady Cui, promised to marry Yingying to whoever could repel the troops . Zhang Sheng volunteered immediately. He wrote to his friend, General Du Que (the "White Horse General"), pleading for rescue. The rebels were driven away, and the temple was saved. However, Lady Cui broke her promise, insulted Zhang Sheng, and only allowed them to become sworn siblings instead. Zhang Sheng became ill from lovesickness. Cui Yingying also had feelings for Zhang Sheng but was bound by feudal ethics and couldn't express her love. Hongniang, Cui Yingying's kind and clever maid, saw through their emotions and secretly helped them by passing messages and creating opportunities for them to meet. Encouraged by Hongniang, Cui Yingying met Zhang Sheng at his residence one night. Under the moonlight, they confessed their love for each other. When Lady Cui found out, she interrogated Hongniang, who retorted cleverly, "To break one's word is dishonorable!" Hit where it hurt, Lady Cui reluctantly agreed to the marriage. However, Lady Cui then invoked their differing social statuses as grounds, demanding that Zhang Sheng proceed to the capital for the imperial examinations and only return to complete the marriage once he had achieved scholarly honor. Zhang Sheng, left with no choice, departed for the capital. At the Ten-Mile Pavilion (十里长亭), Cui Yingying bid him farewell with tears, entreating him “Whether you succeed in gaining office or not, please return soon.” After Zhang Sheng passed the exams and attained the rank of Optimus (状元, top graduate in the imperial examinations), Zheng Heng, Cui Yingying's cousin, lied that Zhang Sheng had already taken another wife in the capital. Lady Cui wavered again and planned to marry Yingying to Zheng Heng. Upon hearing this, Zhang Sheng rushed back and exposed Zheng Heng's scheme in public. Overwhelmed with shame, Zheng Heng killed himself. Ultimately, Cui Yingying and Zhang Gong overcame all obstacles. They joyously united in marriage, achieving their beautiful union. The story concluded with the lovers united at last, bringing it to a harmonious end.

II. Character Analysis Wang Shifu's character portrayal in "The Romance of the Western Chamber" is profoundly insightful. Take Zhang Sheng as an example. Upon his first appearance, he is depicted as handsome and talented. While Cui Yingying is burning incense, he composed a poem by the Taihu stone, and his romantic and elegant image leaves a positive and deep impression on Yingying. Later, during the evening when Yingying is listening to music, he plays a song called "The Phoenix Seeks the Phoenix" and wins her favor. He is also courageous and calm. When Sun Feihu surrounds Pujiu Temple, Zhang Sheng volunteers and offers strategies. He first uses a delaying tactic, asking Abbot Faben to hold off the rebels for three days, while writing to his friend, General Du Que of the White Horse, for urgent assistance. In the end, the rebels are quickly routed. However, this brave and wise man acts rashly and loses his composure when pursuing love, revealing his "silly" side. For instance, when he first meets Hongniang, he nervously introduces himself: "I am Zhang Gong, styled Junrui, from West Luo. I am twenty-three years old, born on the seventeenth day of the first lunar month at midnight, and I am not married." This leaves Hongniang quite puzzled. After she interrupts him, he even asks, "Does the young lady often come out?" His strange words are both frustrating and amusing. Despite numerous obstacles in his pursuit of Cui Yingying, Zhang Sheng is undaunted and unwavering in his devotion. He is so lovesick that he forgets to eat and sleep. In an age when marriages are arranged by parents and social status matters, he doesn't back down. After achieving fame, he doesn't forget his promise to Yingying. Instead, he is deeply in love and misses her dearly. Finally, he returns just in time to expose Zheng Heng's conspiracy.

III. Core Themes The thematic essence of Romance of the Western Chamber is profound and progressive. It boldly advocates the ethos "May all lovers under heaven be united in marriage," celebrating the sincere and passionate love between Zhang Gong and Cui Yingying. Simultaneously, their courageous defiance of feudal ethical codes and social hierarchy constitutes a vehement rebellion against the patriarchal marriage system, exposing how feudal doctrines suppress and distort human nature. Through its narrative, the play conveys aspirations for free and equal love, inspiring countless individuals to persistently pursue true affection.

IV. Questions 1.How many times does Lady Cui agree to marry Yingying to Zhang? What are the reasons for her going back on her word? 2.What key roles does Hongniang play in the story? 3.What are Zhang Sheng's main characteristics? 4.What love view is proposed in the play?

V. Answers 1.Twice. First, she insults Zhang by citing "unequal social status" and only allows them to be siblings. Second, she wavers due to Zheng Heng's rumors and plans to marry Yingying to Zheng.

2.She passes messages and creates opportunities for Zhang and Yingying. Encouraged by her, Yingying meets Zhang at night, and they confirm their feelings. When Lady Cui questions Hongniang, she cleverly retorts, forcing Lady Cui to reluctantly agree to the marriage.

3.Zhang is talented, brave, smart, sincere, and persistent.

3.It proposes that "May all lovers under heaven be united in marriage"

VI. References [1] Yao Jiaqi. Interpretation of Zhang Sheng's Image in Wang Shifu's The Romance of the Western Chamber[J]. Chinese Character Culture, 2025,(04):68-70.DOI:10.14014/j.cnki.cn11-2597/g2.2025.04.054. [2] Li Ying. The Literary Significance of Hongniang's Image in Wang Shifu's The Romance of the Western Chamber[J]. China Story, 2025,(03):38-40. Hsiung I S .The Romance of the Western Chamber (Hsi Hsiang Chi):A Chinese Play Written in the Thirteenth Century[M].Taylor and Francis:2022-05-18.DOI:10.4324/9781003279174. Peng Y .A Corpus-Based Study on the Comparison and Value of the Translations of the Romance of the Western Chamber[J].Lecture Notes on Language and Literature,2024,7(1):

AI Declaration:I hereby guarantee that I have not used the help of AI to write my final paper in this course.

《西厢记》The Romance of the Western Chamber 摘要：《西厢记》是中国古典四大名剧之一，大约写于元贞、大德年间（1295~1307年），由元代著名杂剧作家王实甫创作。它讲述了书生张君瑞与相国小姐崔莺莺在仕女红娘的帮助下，冲破重重阻挠，终成眷属的爱情故事。本文对故事情节进行了简要概括，重点分析了张生的人物形象以及《西厢记》所传达的核心思想。

一、故事内容概括 《西厢记》的故事发生在唐代。崔莺莺是相国府的千金小姐，父亲去世后，母亲崔老夫人带着她和丫鬟红娘等人前往博陵安葬崔莺莺的父亲。由于路途遥远，她们暂居在普救寺。张生（张珙），是一名才华横溢的书生，赴长安应试途中经普救寺，邂逅崔莺莺，被其美貌气质吸引，一见钟情，无奈身份悬殊，难以接近。 不久，叛将孙飞虎率兵围困普救寺，欲强抢崔莺莺为压寨夫人。崔老夫人无奈许下退兵者得娶崔莺莺的诺言。张生得知后主动请缨，写信求友人白马将军杜确救援，贼兵终被击退，普救寺解围。然而崔老夫人食言，羞辱张生，只允他们结为兄妹。 张生相思成疾。崔莺莺也心向张生，却受礼教束缚，难以表明心意。崔莺莺的贴身丫鬟红娘善良机智，看穿二人情感，暗中助力，传递书信，周旋其间，为他们创造机会。崔莺莺最终在红娘鼓励下，夜会张生住处。两人在月光下互诉衷肠，确认了彼此的感情。崔老夫人察觉后拷问红娘，却被红娘机智反驳：“言而无信，违背信义。”崔老夫人被点中要害，无奈勉强答应婚事。 然而崔老夫人随后又以门第为由，要求张生上京应试，功成名就后再完婚。张生无奈赴京，崔莺莺于十里长亭含泪送别，并叮嘱张生“此一行得官不得官，疾便回来”。张生考中状元后，崔莺莺表兄郑恒编造谎言，称张生已在京另娶，崔老夫人再次动摇，欲将莺莺嫁给郑恒。张生闻讯赶回，在众人面前揭穿郑恒阴谋，郑恒羞愧撞死。最终崔莺莺与张生排除万难，喜结连理，成就美好姻缘，故事以有情人终成眷属圆满收尾。

二、人物形象分析 在《西厢记》中，王实甫刻画人物形象的功力入木三分。 以张生的形象为例，初次登场，他英俊潇洒、才华出众。在崔莺莺烧香时，他于太湖石畔墙角作诗，其风流儒雅形象给莺莺留下了良好又深刻的印象，在莺莺晚间听琴时，更以一曲《凤求凰》博得好感。同时，他也富有胆识，处事镇定。在孙飞虎围困普救寺的危难时刻，他自告奋勇，献计献策。先是采取缓兵之计，让法本长老稳住贼兵三日，同时修书一封，请友人白马将军杜确速来救援。使得半万贼兵，卷浮云片时扫净。 然而，就是这样一位有胆有识之人在追求爱情时却一度莽撞行事、仪态尽失，显露出“傻角”的特质。如他初遇红娘时慌乱地自报家门：“小生姓张，名珙，字君瑞，本贯西洛人也，年方二十三岁，正月十七日子时建生，并不曾娶妻。”令对方莫名其妙。红娘打断他后，他还问“敢问小姐常出来吗”，言语怪诞，让人可气又可笑。 尽管张生对崔莺莺的追求面临重重困难，但他不屈不挠，毫不退缩，是个不折不扣的志诚种。他为了崔莺莺昼夜忘食废寝，魂劳梦断，相思成疾。在封建婚姻讲究门当户对，且需遵循父母之命的背景下，他没有因此而退缩。得了功名后，也没有忘记和崔莺莺的约定，而是一往情深，刻骨地思念着莺莺，最后及时地赶了回来，揭穿了郑恒的阴谋。

三、核心思想 《西厢记》的主题思想深刻且具有进步意义。它鲜明地提出“愿天下有情人都成了眷属”的爱情观，歌颂了张生和崔莺莺之间真挚、热烈的爱情。同时，张生和崔莺莺勇敢冲破封建礼教束缚和门第观念的行为，也表达了对封建婚姻制度的强烈反抗，并揭示了封建礼教对人性的压抑和扭曲。全剧传达出对自由、平等爱情的向往，激励了无数人为追求真爱而不懈斗争。

四、问题 1.崔老夫人答应把崔莺莺许配给张生一共有几次？分别以怎样的理由食言？ 2.红娘在故事中起到了哪些关键作用？ 3.张生主要的人物形象是什么？ 4.《西厢记》中提出了什么样的爱情观？

五、答案 1.一共有两次。第一次以“门不当户不对”的理由羞辱张生，只许他们结为兄妹；第二次因为郑恒的谣言而动摇，并打算将莺莺嫁给郑恒。 2.传递书信，为张生和崔莺莺创造机会。使得崔莺莺最终在她的鼓励下夜会张生，确定彼此心意。当崔老夫人察觉并拷问红娘时，红娘机智反驳，使崔老夫人无奈答应婚事。 3.才情出众、勇敢机智、真诚执着。 4.提出了“愿天下有情人都成了眷属”的爱情观。

六、参考文献 [1]姚佳琦.王实甫《西厢记》的张生形象解读[J].汉字文化,2025,(04):68-70.DOI:10.14014/j.cnki.cn11-2597/g2.2025.04.054. [2]李营.王实甫《西厢记》中红娘形象的文学意义[J].中国故事,2025,(03):38-40. [3] 熊怡.《西厢记（西厢记）：一部十三世纪的中国戏剧》[M]. 泰勒弗朗西斯集团，2022-05-18. DOI:10.4324/9781003279174. [4] 彭颖. 基于语料库的《西厢记》译本对比与价值研究 [J]. 语言文学讲座笔记，2024,7(1):

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https://bou.de/u/wiki/User:Zheng_Xiaotong#Final_Paper 郓城壮馍 Yuncheng Zhuangmo

Yuncheng Zhuangmo

202330092025 郑筱彤 Zheng Xiaotong

Introduction: Yuncheng Zhuangmo is a traditional specialty of Yuncheng County in Heze City, Shandong Province,renowned for its unique production process, rich cultural connotations, and delicious taste. The Mass Daily once praised it as a "unique flavor in the southwestern region of Shandong," which fully demonstrates its important position in local cuisine.

History: Yuncheng Zhuangmo has a long history, and there are several versions of its origin. One theory is related to the Water Margin culture. Yuncheng is one of the important birthplaces of the Water Margin stories, and there is a saying in the Water Margin that "Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng." According to legend, during the Northern Song Dynasty, when the heroes of Water Margin were on expedition or traveling, they needed a food that was both filling and easy to carry. Thus, Zhuangmo came into being. This large pancake-like food, rich in meat and oil, could quickly restore energy and meet the dietary needs of the heroes during their arduous campaigns. Therefore, it was named "Zhuangmo" (meaning "strong cake") and also called the "Hero's Cake." Another theory is related to Emperor Qianlong. According to the records in Heze Culture and Tourism, when Emperor Qianlong passed through Liangshan during his southern tour, he inquired about the local specialties of Yuncheng. The officials recommended a type of pastry called "Water Margin Big Zhuangmo." Initially, the Big Zhuangmo was simply a layering of dough and oil. To make it more presentable for the emperor's tasting, the chefs added meat fillings. After Emperor Qianlong tasted it, he praised it highly, and the Big Zhuangmo thus became famous. It gradually evolved into the Yuncheng Zhuangmo that we know today.

Production Process: 1. Zhuangmo is a type of pastry, so the first step is to make the dough. Pour the flour into a large bowl and gradually add boiling water (about 80% hot). This semi-scalded dough method gives the dough both elasticity and a soft, palatable texture. Then, knead the dough repeatedly until it is smooth. The dough should be as soft as possible, so the kneading force needs to be well controlled. Place the dough in a warm place to rest for about 1 hour until it expands in volume. Finally, divide the dough into small pieces about the size of a fist. 2. The second step is to prepare the filling.Traditionally, the filling of Zhuangmo was mainly composed of beef or mutton, but now it is mostly made of pork. Chop the meat into a paste.Add chopped green onions, minced ginger, salt, five-spice powder, cooking wine, and sesame oil to the meat paste, and mix well.Then Marinate the filling for about 15 minutes. 3. The third step is the wrapping process. Roll out the dough piece into a long, tongue-shaped sheet. Use a wooden spoon or spatula to evenly spread the prepared meat filling onto the dough sheet. The ratio of dough to filling should be 3:2. Then, stretch the dough sheet with both hands into a strip about two feet long, fold it from the narrow end into a square shape, and press the open ends together with your hands. Finally, roll it out again into an oval-shaped pastry that is seven inches long, four inches wide, and six-tenths of an inch thick. Since the dough is very soft, the filling can easily leak out, so the maker needs to control the amount of filling and have skillful handling techniques. 4. The last step is the crucial frying process. Heat a flat pan, add an appropriate amount of mixed vegetable oil and animal oil, and heat it up. Then, partially immerse the pastry into the hot oil, frying and turning it until it turns a dark red color. Remove it from the oil and drain off the excess oil. After frying, cut the Zhuangmo into quarters.You will see layers of dough alternating with layers of meat, with the dough as thin as paper and the meat like fine shreds. There are more than ten layers inside and out, with clear strata that make it mouth-watering.

Cultural Significance: The origin of Zhuangmo is closely related to Water Margin culture. When people make and enjoy it, they often recall the Water Margin culture associated with it. The preparation and consumption of Yuncheng Zhuangmo reflect the living customs and dietary culture of the heroes in Water Margin, making it an important carrier of Water Margin culture. Zhuangmo is a specialty cuisine from the southwestern region of Shandong Province. In addition to Yuncheng, similar snacks can also be found in places like Henan. It is a product of the intersection of the “rice in the south and wheat in the north” dietary cultures, reflecting the regional characteristics of the Yellow River alluvial plain. In terms of production techniques, Heze Zhuangmo follows the ancestral rules of “three smoothnesses, six turns, and seventy-two kneadings,” which demonstrates the people of southwestern Shandong's adherence to and inheritance of traditional skills.

Modern Inheritance and Development: In modern society, as a local specialty, Zhuangmo is not only widely available in every corner of Yuncheng but has also gradually expanded into broader markets, attracting more and more people to taste it. Among them, the most famous Zhuangmo shop, "Hejia Zhuangmo," has been featured on the popular TV program A Bite of China.This has boosted the local tourism and economic development, attracting a large number of tourists who line up to purchase it. While preserving the traditional methods of making Zhuangmo, the inheritors of this craft have also developed a variety of new flavors to meet the diverse tastes of consumers. These include vegetarian options such as egg and chive Zhuangmo, as well as innovative versions like Zhuangmo with eggs poured inside.

Terms and Expressions: Yuncheng Zhuangmo 郓城壮馍 the Water Margin culture 水浒文化 semi-scalded dough 半烫面 Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng 梁山一百单八将，七十二名在郓城 rice in the south and wheat in the north南米北面

Questions: 1. Which region is Zhuangmo a specialty of? 2. What are the main ingredients of Zhuangmo? 3. What local culture is Zhuangmo associated with?

Preferences: 1.舌尖上的郓城：来郓城不得不吃的美食Yuncheng on the Tip of the Tongue: Must-Try Dishes in Yuncheng（2024.10.1） 2.鲁味摘|郓城壮馍：叫“馍”不是馍，水浒壮汉食用之干粮-大众日报Shandong Flavors | Yuncheng Zhuangmo: Named "Mo," but Not a Mo—The Staple Food of the Water Margin Heroes—Mass Daily（2024-02-10） 3.小康中国 千城早餐｜郓城壮馍-新华社三农A Well-Off China: Breakfast in a Thousand Cities | Yuncheng Zhuangmo - Xinhua News Agency（2022-09-13）

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郓城壮馍

介绍: 郓城壮馍是山东省菏泽市郓城县的传统特产名吃，以其独特的制作工艺、丰富的文化内涵和鲜美的口感而闻名。《大众日报》曾在报道中称赞其为“鲁西南地区的独特风味”，足见其在地方美食中的重要地位。

历史: 郓城壮馍历史悠久，关于它的起源，民间流传着多个版本。一种说法与水浒文化有关。郓城是水浒故事的重要发源地之一，水浒传中有“梁山一百单八将，七十二名在郓城”的说法。据传，北宋时期，水浒好汉在出征或赶路时，需要一种既能饱腹又方便携带的食物，壮馍便应运而生。这种大饼状的食物，肉多油多，能让人迅速恢复体力，满足了好汉们在艰苦征战中的饮食需求，因此得名“壮馍”，又被称为“好汉饼”。 还有一种说法与乾隆皇帝南巡有关。据《菏泽文化旅游》记载，乾隆皇帝南巡时途经梁山，询问郓城有何特色美食。官员推荐了一种名为“水浒大壮馍”的面食，最初的大壮馍只是简单的面皮和油的层叠。为了让其更加体面，以供皇帝品尝，厨师加入了肉料。乾隆皇帝品尝后，对其赞不绝口，大壮馍也因此名声大噪，逐渐演变成如今的郓城壮馍。

制作过程: 1.壮馍是一种面食，因此第一步便是和面。将面粉倒入大碗中少量多次加入八成热的热水，这种半烫面的做法使面团既有韧性又柔软适口。之后再反复揉成光滑的面团，这里要求面揉的越软越好，因此揉面的力度要掌握好。将面团放置在温暖处醒发约1小时，使面团体积膨胀，再揪成一个个拳头大的面团。2.第二步是调馅。早期壮馍的馅料多以牛肉和羊肉为主，但现在大多是猪肉。将肉用刀剁成肉泥，在肉馅中加入葱末、姜末、盐、五香粉、料酒、香油等调料，搅拌均匀，腌制15分钟左右。3.第三步就是包制过程。将面剂擀成长舌状，把调好的肉馅用木勺或木片均匀涂抹在面皮上，面与馅的比例为三比二，然后两手扯平，拉成二尺长条，从小头折叠，叠成方块，两头露口处用手压合，最后再擀成长七寸、宽四寸、厚六分的椭圆形饼坯。因为面团很软，所以馅料十分容易漏出，需要制作者把控好馅料的多少以及手法娴熟。4.最后是最关键的煎制过程。平底锅上火，加入适量植物油与动物油混合的油，烧热后将面饼半浸入平底油锅中，边炸边翻，炸至绛红色后捞出控油。出锅后的壮馍，以快刀十字切开，便可看到一层面夹一层肉，面如纸薄，肉如丝絮，里里外外不下十几层，层次分明，令人垂涎欲滴。

文化意义: 壮馍的起源与水浒文化分不开。当人们在制作和品尝它时，总会想起与之相关的水浒文化。郓城壮馍的制作和食用方式，反映了水浒好汉们的生活习俗和饮食文化，成为水浒文化的重要载体。 壮馍是鲁西南地区的一道特色美食。除了郓城，河南等地也有与它类似的小吃。它是“南米北面”饮食文化交界处的智慧结晶，反映了黄河冲积平原地区的地域特色。在制作工艺上，菏泽壮馍遵循“三光六转七十二揉”的祖传规矩，体现了鲁西南地区人民对传统技艺的坚守和传承。

现代传承与发展: 在现代社会，壮馍作为地方特色美食，不仅在郓城的大街小巷随处可见，还逐渐走向更广阔的市场，吸引了更多人来此品尝。其中，最有名的一家壮馍店“何家壮馍”还被《舌尖上的中国》宣传。这推动了当地旅游业和经济的发展，吸引了非常多的游客排队购买。 在传承原本壮馍的制作方法的同时，壮馍传承人也开发出更多口味的壮馍，如素馅的鸡蛋韭菜壮馍、灌鸡蛋的壮馍等，以满足不同消费者的口味需求。

术语和表达式: Yuncheng Zhuangmo 郓城壮馍 the Water Margin culture 水浒文化 semi-scalded dough 半烫面 Out of the 108 heroes of Liangshan, seventy-two are from Yuncheng 梁山一百单八将，七十二名在郓城 rice in the south and wheat in the north南米北面

问题: 1.壮馍是哪个地区的特色美食？ 2.壮馍的主要用料是什么？ 3.壮馍与当地的什么文化有关？

参考文献: 1.舌尖上的郓城：来郓城不得不吃的美食（2024.10.1） 2.鲁味摘|郓城壮馍：叫“馍”不是馍，水浒壮汉食用之干粮大众新闻-大众日报（2024-02-10） 3.小康中国 千城早餐｜郓城壮馍新华社三农（2022-09-13）

我在此保证我没有使用AI的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Li_Yijun#Final_Paper 汉寿甲鱼 Hanshou turtle

Hanshou Soft-Shelled Turtle: Cultural Decoding of a Waterland Delicacy and a Dialogue of Global Palates Li Yijun Abstract The Hanshou Soft-Shelled Turtle, a signature product of the fertile Dongting Lake basin, carries the genetic code of millennia-old agrarian civilization. This paper analyzes its ecological value and cultural significance as "Ginseng in Water" from four dimensions: geographical origins, culinary culture, skill inheritance, and international comparison. By contrasting it with Western aquatic food cultures like French avocado dip and Japanese eel cuisine, it reveals the uniqueness of the Hanshou Soft-Shelled Turtle in culinary philosophy, symbolic representation, and industrial models, showcasing the potential for dialogue between China's waterland civilization and global food cultures. I. The Natural Bounty of the Yuan-Li Wetlands: Geographical Origins and Historical Roots of the Hanshou Soft-Shelled Turtle Located south of Dongting Lake, Hanshou County enjoys the reputation of a "Land of Fish and Rice" due to the alluvial plains formed by the confluence of the Yuan and Li Rivers. The lake and marsh wetlands here, with an average annual water temperature of 22°C, provide an ideal habitat for the Chinese Soft-Shelled Turtle (Pelodiscus sinensis) – abundant aquatic plants offer natural cover, snails, clams, fish, and shrimp form a complete food chain, and the mineral-rich, slightly alkaline water and soil contribute to the unique quality of Hanshou turtles characterized by "broad, thick calipash and firm, tender meat." According to the Book of Han: Treatise on Geography, the Yuan River basin saw "an exchange of insects and fish goods throughout the Three Xiang regions." The Warring States period's Chu Ci: Summoning the Soul even depicted the Chu people's culinary tradition with the line "Braised turtle and roasted lamb, with sugarcane juice," indicating that the consumption history of Hanshou turtles exceeds two thousand years. The Ming Dynasty's Jiajing Changde Prefecture Gazetteer details local fishing customs like "catching turtles with bamboo traps, raising them in earthen jars," while the Qing Dynasty's Qianlong Hanshou County Gazetteer listed turtles as "tribute delicacies." This wisdom of coexisting with water gradually evolved into a unique cultural symbol within agrarian civilization – the thirteen scutes on the turtle's carapace correspond to the Heavenly Stems and Earthly Branches, imbuing it with a mystical aura of "connecting heaven and earth," while the folk proverb "a turtle for a thousand years, a tortoise for ten thousand" makes it a material carrier of longevity culture. During the Dragon Boat Festival, the water villages of Hanshou still preserve the custom of "eating turtle for blessings," where housewives stew turtle with glutinous rice dumplings (zongzi), symbolizing the expulsion of evil and the welcoming of good fortune. This cultural phenomenon deeply binding natural produce with folk beliefs is a vivid interpretation of the life aesthetics of the Land of Fish and Rice. II. The Culinary Philosophy of Five Flavors in Harmony: The Skill System and Dietary Ethics of Hanshou Soft-Shelled Turtle The culinary techniques for Hanshou Soft-Shelled Turtle epitomize the "medicine and food sharing the same origin" concept in Chinese food culture. Traditional methods emphasize "Three Selections and Three Taboos": select wild turtles over five years old, choose those caught in live water with nets rather than drugged, and pick those with golden calipash; avoid eating it with amaranth or eggs, avoid cooking with copper utensils, and avoid excessively fierce heat. The most renowned dish, "Hanshou Clear-Braised Soft-Shelled Turtle," requires four key steps: "live bleeding, scalding to remove skin, cleaning with bamboo knife, and simmering in earthenware." Bleeding involves catching the blood in a porcelain bowl, warming it with rice wine, and adding it back to the soup – embodying the Chinese medicinal wisdom of "nourishing blood with blood." Scalding requires water precisely at 80°C to remove the epidermal mucus without damaging collagen. Simmering involves adding wild mushrooms from West Dongting Lake and sweet rice wine from the Yuan River, stewed over mulberry wood fire for three hours, resulting in a "milky white broth, glutinous calipash, and meat with a sweet aftertaste." Behind these techniques lies the reverence of waterland dwellers for "natural timing and geographical advantage." Young turtles are not caught during spring ploughing, raw turtle is avoided during the summer solstice's hottest days, while autumn and winter are the best seasons for consumption – reflecting the ecological ethic of "eating seasonally." In traditional Hanshou banquets, the placement of turtle dishes also follows rules: the head must face the guest of honor, the calipash must be neatly arranged symbolizing "guests feeling at home," and the braising liquid is always saved to cook with newly harvested rice into congee, called "completing the turtle feast," implying the life philosophy of "using resources fully." This cultural logic elevating cooking to ethical practice, resonates with Confucius's concept of "exquisite dining" and constitutes a core characteristic distinguishing Chinese food culture from the West. III. A Dialogue of Palates Across Civilizations: Cultural Comparison of Aquatic Ingredients in Chinese and Western Cuisines While the Hanshou Soft-Shelled Turtle releases its aroma in earthen pots, similar aquatic ingredients in Western food culture have developed unique expressions. In the Garonne River basin of southwest France, locals stew European turtles (Trionyx triunguis) with Bordeaux red wine, lavender, and thyme to create "Burgundy-style Braised Turtle." Its technique emphasizing wine reduction contrasts sharply with Hanshou's "original broth slow stewing" – the former highlights the esterification reaction between wine tannins and turtle fat, while the latter pursues the ultimate release of the ingredient's intrinsic flavor. This difference stems from the deep divide between agrarian and pastoral civilizations: the rice-based dietary structure of Chinese waterlands fostered a "flavor fusion through broth" logic, while Europe's wine culture gave rise to a "flavor enhancement through wine" tradition. Although not turtles, Japan's Edo-period "eel cuisine" shares symbolic similarities with the Hanshou Soft-Shelled Turtle. Kyoto's "Hitsumabushi" (eel rice bowl) requires "skewering, kabayaki grilling, layering" three processes. Its seasonality (eating eel to dispel summer heat) aligns with Hanshou's "seasonal eating" concept. However, Japanese cuisine emphasizes "shun" (seasonality) and the chef's "shokunin spirit" (craftsmanship), whereas Hanshou turtle cooking incorporates more familial warmth – such as the folk custom of "Grandmother's Stewed Turtle," where elders stew turtle before grandchildren's college entrance exams, sealing it in an earthen jar stored in glutinous rice for warmth. This cultural phenomenon binding diet to educational anxiety is rare in Western food culture. IV. The Industrial Leap from Tradition to Modernity: Cultural Inheritance and Contemporary Value of Hanshou Soft-Shelled Turtle Entering the modern era, the Hanshou Soft-Shelled Turtle has evolved from a natural gift to a cultural IP. In 2007, "Hanshou Soft-Shelled Turtle" obtained National Geographical Indication (NGI) certification. Locally, a full industrial chain of "ecological farming - deep processing - cultural experience" was established: the "Rice-Turtle Symbiotic Farming" model in West Dongting Lake wetlands increases income by 3,000 yuan per mu; processing companies extract collagen peptides from turtle shells, boosting product value tenfold; the annual "Hanshou Soft-Shelled Turtle Cultural Festival" in September transforms traditional fishing culture into an experience economy through activities like "turtle catching contests" and "culinary competitions." Traditional skills persist within this industrial transformation – the "Eighteen Methods of Turtle Cooking" recorded by the Hanshou County Intangible Cultural Heritage Center has become a required course in vocational culinary schools, while the spontaneously formed "Turtle Cuisine Association" regularly holds "Family Stewed Turtle Competitions," maintaining intergenerational taste memories. In the global context, the Hanshou Soft-Shelled Turtle is becoming a medium for cultural export. At the 2019 "Chinese Food Festival" in Paris, Hanshou chefs created "East-West Fusion Braised Turtle" by replacing traditional rice wine with Moutai and pairing calipash with French white asparagus, prompting a feature in Le Figaro. This innovation is not a departure from tradition but a contemporary interpretation of the waterland culture's inclusiveness – just as the Yuan River grows mighty by accepting hundreds of tributaries, the cultural vitality of the Hanshou Soft-Shelled Turtle lies in its adherence to tradition and embrace of innovation. From the earthen jars of the Warring States Chu people to the silver plates of Parisian restaurants, this turtle from the Dongting waterlands carries the taste code for dialogue between Chinese civilization and the world. Conclusion The story of the Hanshou Soft-Shelled Turtle is a condensed history of waterland civilization. Emerging from the silt of the Yuan-Li wetlands, it gained cultural life in the simmering pots of earthenware over wood fire, and has undergone modern transformation amidst the waves of globalization. It reflects the ecological wisdom of "harmony between humans and nature," the culinary philosophy of "harmonizing five flavors," and the cultural tolerance of "harmony in diversity" inherent to Chinese agrarian civilization. When French gourmands taste Hanshou turtle with silver forks, they savor not just an Eastern delicacy, but an art of living in symbiosis with water – this taste resonance across time and space may be the most vivid footnote to the dialogue of civilizations. Terms and Expressions 汉寿甲鱼: Hanshou Soft-Shelled Turtle 洞庭湖: Dongting Lake 沅水: Yuan River 澧水: Li River 清炖甲鱼: Braised Soft-Shelled Turtle in Clear Soup 稻鳖共生: Rice-Turtle Symbiotic Farming 国家地理标志: National Geographical Indication (NGI) Questions 1.In which year did the Hanshou Soft-Shelled Turtle obtain National Geographical Indication (NGI) product certification? 2.In traditional Hanshou banquets, what is the significance of the direction the turtle dish's head faces? 3.Which type of alcohol is primarily used to flavor the French "Burgundy-style Braised Turtle"? Answers 1.2007. 2.The head must face the guest of honor. 3.Bordeaux red wine. References [1] Hunan Provincial Local History Compilation Committee. Annals of Hunan Fisheries [M]. Changsha: Hunan People's Publishing House, 1998. [2] Zhao Rongguang. History of Chinese Food Culture [M]. Shanghai: Shanghai People's Publishing House, 2006. [3] Zhou Antao. A Brief History of Hanshou Soft-Shelled Turtle Farming [J]. Hunan Agricultural Sciences, 2009(11):154-156. [4] Chang Kwang-chih. The Archaeology of Ancient China [M]. Beijing: SDX Joint Publishing Company, 1999. (Note: Corrected title & publisher based on common English editions of K.C. Chang's work, referenced as "Shanghai SDX Joint Publishing" in some contexts) [5] Fei Xiaotong. Peasant Life in China [M]. Beijing: Peking University Press, 2012. (Note: Translated title of Jiangcun Jingji) [6] Li Min. A Comparative Study on the Cooking of Aquatic Ingredients in Chinese and French Cuisine [J]. Culinary Research, 2018(3):25-30. [7] Hanshou County Cultural Bureau. Annals of Hanshou Folk Customs [Z]. Internal Publication, 2005. [8] Zhang Qijun. Principles of Cooking [M]. Beijing: China Commerce Publishing House, 2013. [9] Braudel, Fernand. The Mediterranean and the Mediterranean World in the Age of Philip II [M]. Beijing: The Commercial Press, 1996. (Note: Translated title) [10] Hattori Yukio (服部幸应). The Aesthetics of Japanese Cuisine [M]. Tokyo: Kodansha, 2010. (Note: Translated title & Romanized author name)

汉寿甲鱼：水乡珍馐的文化解码与世界味觉对话

摘要

汉寿甲鱼作为洞庭湖流域鱼米之乡的标志性物产，承载着千年农耕文明的基因密码。本文从地理成因、饮食文化、技艺传承及国际比较四个维度，剖析其作为“水中人参”的生态价值与文化内涵。通过对比法国鳄梨酱、日本鳗料理等西方水生食材文化，揭示汉寿甲鱼在烹饪哲学、符号象征及产业模式上的独特性，展现中国水乡文明与世界饮食文化的对话可能。

一、沅澧泽国的自然馈赠：汉寿甲鱼的地理成因与历史渊源

洞庭南麓的汉寿县，因沅水、澧水交汇形成的冲积平原，自古享有“鱼米之乡”的美誉。这里年均水温22℃的湖沼湿地，为中华鳖（Trionyx sinensis）提供了理想的生长环境——丰茂的水生植物构成天然遮蔽，螺蚌鱼虾形成完整食物链，而富含矿物质的弱碱性水土，造就了汉寿甲鱼“裙边宽厚、肉质紧实”的独特品质。据《汉书·地理志》记载，沅水流域“虫鱼之货，交于三湘”，战国时期的《楚辞·招魂》更以“胹鳖炮羔，有柘浆些”描绘楚人烹鳖的饮食传统，可见汉寿甲鱼的食用历史已逾两千年。 明代《嘉靖常德府志》详细记载了当地“篾簖捕鳖，陶瓮蓄养”的渔猎习俗，而清乾隆年间《汉寿县志》更将甲鱼列为“上贡珍馐”。这种与水共生的生存智慧，在农耕文明中逐渐演化出独特的文化符号——甲鱼背甲的十三块盾片对应天干地支，被赋予“通天地”的神秘色彩，而“千年王八万年龟”的民间谚语，则使其成为长寿文化的物质载体。每当端午时节，汉寿水乡至今保留着“食鳖祈福”的习俗，主妇们以甲鱼炖粽，寓意驱邪纳吉，这种将自然物产与民俗信仰深度绑定的文化现象，正是鱼米之乡生活美学的生动诠释。

二、五味调和的烹饪哲学：汉寿甲鱼的技艺体系与饮食伦理

汉寿甲鱼的烹饪技艺，堪称中国饮食文化“医食同源”理念的典范。传统技法讲究“三选三忌”：选五龄以上野生鳖，选活水网捕而非药捕，选裙边金黄者；忌与苋菜、鸡蛋同食，忌用铜器烹煮，忌火候急猛。最负盛名的“汉寿清炖甲鱼”，需经“活鳖宰血、沸水褪衣、竹刀取脏、土罐文火”四道工序——宰鳖时以瓷碗接取鲜血，与料酒同温后倒入汤中，此为“以血养血”的中医智慧；褪衣时水温需控制在80℃，恰能去除表皮黏液而不破坏胶原蛋白；炖煮时加入汉寿特产的西洞庭湖区野生菌、沅江糯米甜酒，以桑木柴火慢煨三小时，最终形成“汤色乳白、裙边胶糯、肉质回甘”的味觉体验。 这种烹饪技艺背后，是水乡居民对“天时地利”的敬畏。春耕时节不捕幼鳖，夏至伏天忌食生鳖，秋冬则是食鳖最佳时令，此乃“应时而食”的生态伦理。在汉寿传统宴席中，甲鱼菜肴的摆放位置亦有讲究：鱼头需朝向主宾，裙边需整齐码放，寓意“宾至如归”，而炖鳖的汤汁必留至最后，与新收的稻米同煮成粥，谓之“全鳖宴收尾”，暗含“物尽其用”的生活哲学。这种将烹饪上升为伦理实践的文化逻辑，与孔子“食不厌精”的饮食观一脉相承，构成了中国饮食文化区别于西方的核心特质。

三、跨文明的味觉对话：中西方水生食材的文化比较

当汉寿甲鱼在陶瓮中释放鲜香时，西方饮食文化中类似的水生食材也发展出独特的文化表达。法国西南部的加龙河流域，当地人将欧洲鳖（Trionyx europaeus）与波尔多红酒同炖，加入薰衣草与百里香，形成“勃艮第式炖鳖”，其注重酒汁收汁的技法，与汉寿甲鱼的“原汤慢炖”形成鲜明对比——前者强调葡萄酒的单宁与鳖肉的脂肪发生酯化反应，后者则追求食材本味的极致释放。这种差异背后，是农耕文明与畜牧文明的深层分野：中国水乡以稻米为基底的饮食结构，造就了“以汤融味”的烹饪逻辑，而欧洲大陆的葡萄酒文化，则催生了“以酒赋味”的味觉传统。 日本江户时代的“鳗料理”虽非鳖类，却在文化象征上与汉寿甲鱼有相通之处。京都的“ひつまぶし”（鳗鱼盖饭）需经“串烤、蒲烧、叠层”三道工序，其对季节的敏感性（夏季食鳗祛暑）与汉寿甲鱼的“应时饮食”理念相似，但日本料理更强调食材的“旬”（时令）与厨师的“职人精神”，而汉寿甲鱼烹饪则融入了更多家族传承的温情——比如汉寿民间流传的“祖母炖鳖”习俗，老人们会在孙辈高考前炖制甲鱼，以陶罐封存后埋于糯米中保温，这种将饮食与教育焦虑绑定的文化现象，在西方饮食中颇为罕见。

四、从传统到现代的产业跃迁：汉寿甲鱼的文化传承与当代价值

步入现代社会，汉寿甲鱼从自然馈赠演变为文化IP。2007年“汉寿甲鱼”获国家地理标志产品认证，当地建立起“生态养殖—精深加工—文化体验”的全产业链：西洞庭湖湿地的“稻鳖共生”模式，实现每亩稻田增收3000元；加工企业将甲鱼壳制成胶原蛋白肽，使产品附加值提升十倍；而每年九月举办的“汉寿甲鱼文化节”，则通过“捉鳖比赛”“厨王争霸”等活动，将传统渔猎文化转化为体验经济。这种产业转型中，传统技艺并未消逝——汉寿县非遗中心收录的“甲鱼烹饪十八法”，成为职业院校烹饪专业的必修课程，而民间自发成立的“甲鱼美食协会”，则定期举办“家庭炖鳖大赛”，维系着代际间的味觉记忆。 在全球化语境下，汉寿甲鱼正成为文化输出的媒介。2019年巴黎“中国美食节”上，汉寿厨师以茅台替代传统米酒，用法国白芦笋搭配甲鱼裙边，创作出“中西合璧炖甲鱼”，引发《费加罗报》的专题报道。这种创新并非对传统的背离，而是鱼米之乡文化包容性的当代诠释——正如沅水接纳百川而成其大，汉寿甲鱼的文化生命力，正体现在对传统的坚守与对创新的包容之中。从战国楚人的陶瓮到巴黎餐厅的银盘，这只来自洞庭水乡的甲鱼，承载着中华文明与世界对话的味觉密码。

结论

汉寿甲鱼的故事，是一部浓缩的水乡文明史。它从沅澧泽国的淤泥中走来，在陶瓮柴火的煨炖中获得文化生命，又在全球化浪潮中完成现代转型。其背后折射的，是中国农耕文明“天人合一”的生态智慧，“五味调和”的烹饪哲学，以及“和而不同”的文化胸襟。当法国饕客用银叉品尝汉寿甲鱼时，他们品味的不仅是一道东方佳肴，更是一种与水共生的生活艺术——这种跨越时空的味觉共鸣，或许正是文明对话最生动的注脚。

专有名词

1.汉寿甲鱼：Hanshou Soft-Shelled Turtle 2.洞庭湖：Dongting Lake 3.沅水：Yuan River 4.澧水：Li River 5.清炖甲鱼：Braised Soft-Shelled Turtle in Clear Soup 6.稻鳖共生：Rice-turtle Symbiotic Farming 7.国家地理标志：National Geographical Indication

问题

1. 汉寿甲鱼获得国家地理标志产品认证的时间是哪一年？ 2. 汉寿传统宴席中，甲鱼菜肴的鱼头朝向有何讲究？ 3. 法国“勃艮第式炖鳖”主要使用哪种酒类调味？

答案

1. 2007年。 2. 鱼头需朝向主宾。 3. 波尔多红酒。

参考文献

[1] 湖南省地方志编纂委员会. 湖南渔业志[M]. 长沙: 湖南人民出版社, 1998. [2] 赵荣光. 中国饮食文化史[M]. 上海: 上海人民出版社, 2006. [3] 周安涛. 汉寿甲鱼养殖史略[J]. 湖南农业科学, 2009(11):154-156. [4] 张光直. 中国青铜时代[M]. 北京: 生活·读书·新知三联书店, 1999. [5] 费孝通. 江村经济[M]. 北京: 北京大学出版社, 2012. [6] 李皿. 中法水生食材烹饪比较研究[J]. 美食研究, 2018(3):25-30. [7] 汉寿县文化局. 汉寿民俗志[Z]. 内部资料, 2005. [8] 张起钧. 烹调原理[M]. 北京: 中国商业出版社, 2013. [9] 布罗代尔. 菲利普二世时代的地中海和地中海世界[M]. 北京: 商务印书馆, 1996. [10] 服部幸应. 日本料理的美学[M]. 东京: 讲谈社, 2010.

AI陈述：我再此保证，我没有使用A的帮助来写这门课程的期末论文。

https://bou.de/u/wiki/User:Li_Zuyi#Final_Paper 中文原创音乐剧：聂小倩与宁采臣 Chinese Original Musical: Nie Xiaoqian and Ning Caichen

Chinese Original Musical: Nie Xiaoqian and Ning Caichen

Li Zuyi

ⅠIntroduction to the Development of Chinese Musical

Musicals originated in the United States and the United Kingdom in the 1920s, with Broadway in the US and the West End in the UK being the most prosperous. Over a long period of development, Western musicals have become a diversified industry integrating culture, entertainment, and economy.
With China's continuous opening up to the world following the reform and opening-up policy, musicals began to truly enter the Chinese field of vision in the 1980s. The introduction of this new art form from Broadway enriched people's entertainment lives and was well-received. Consequently, the music market started to focus on the importance of musicals, and many forward-looking musicians conceived the idea of creating original Chinese musicals. After long-term exploration and practice, it was not until 1989 that The Game in the Wilderness marked the birth of China's first truly original musical. In his book A Comprehensive History of Chinese Operas and Musical, musicologist and critic Ju Qihong wrote: "Any musical created by Chinese artists in line with the aesthetic tastes of Chinese audiences and the cultural market's consumer demands is considered a 'Chinese musical.'"(Ju 2014)
In recent years, the development of musicals has been particularly rapid. This is not only reflected in the increasing number of original productions and the growing number of theater performances but also in the strengthening of musical talent cultivation and the in-depth research of musical theory. The audience for musicals has also expanded significantly in terms of both coverage and size, and there are more extensive entertainment platforms and variety shows that provide more opportunities for musical exposure. Overall, Chinese musicals present a broad prospect for development.(Wu 2023)

ⅡPlot Summary

Nie Xiaoqian and Ning Caichen is adapted from Pu Songling's classic masterpiece Strange Tales from a Chinese Studio. Jointly created by the renowned playwright Guan Shan and musician San Bao, it premiered in Dongguan in 2014 and is one of the representative works of Chinese original musicals.
The musical tells a poignant love story between a human and a ghost. Ning Caichen, a scholar who prides himself on being uninterested in wealth, sex, and unafraid of ghosts, is intercepted by female ghosts on his way to the capital for the imperial examinations. Despite the ghosts' successive attempts to lure him with various temptations, Ning Caichen remains integrity. On the second night, Nie Xiaoqian, who had been betrayed and abused by twelve men in her lifetime, approaches Ning Caichen again, trying to tempt him with beauty, wealth, and the promise of life. However, Ning Caichen maintains his integrity. Nie Xiaoqian is touched by his character, and the two spend the night together, developing deep feelings for each other. Nie Xiaoqian decides to have sex with Ning Caichen, even though it means she will have to endure the torments of the eighteenth hell and never be reborn. After their night together, Ning Caichen tries to find Nie Xiaoqian, who has gone to hell. He is told that he must commit suicide by sword to be reunited with her. Ultimately, the fear of death and the attachment to life lead him to discard the sword, leaving Nie Xiaoqian to suffer alone in hell.

ⅢThemes 1.The musical reflects the different spiritual wills of people in society when pursuing their life ideals.

 The character Ning Caichen embodies the playwright Guan Shan's profound contemplation and sharp satire of contemporary life. He claims to be an upright gentleman who is not greedy for wealth, sex, or life. However, when Nie Xiaoqian needs him the most, he surrendered to the fear of death, leaving her to suffer in the eighteenth hell. Compared to the twelve men who had betrayed Nie Xiaoqian before, he is actually the one who causes her the deepest pain. In today's "profit-driven" society, people talk about ideals, but when it comes to making sacrifices for those ideals, they all start to be self-interested.

2.The tragic plight and spirit of resistance of women in feudal society.

 Nie Xiaoqian is a realistic character. She suffered abandonment by her father, brutal sexual assault and cruel shackles by other men in her lifetime. However, she is not an isolated case; she represents the misfortunes of all women in feudal society. Despite her struggles, she cannot escape the injustices of a patriarchal society. Yet, she is also an idealistic character. Her portrayal does not lead to complete pessimism and despair. This woman, who has endured countless humiliations and injuries in the human world, should have just endured. However, when facing her innermost desires, she still chooses to follow her heart, indicating that her spirit of resistance has not been completely eroded.

Ⅳ Indigenous Features of the Musical As a representative of Chinese original musicals, "Nie Xiaoqian and Ning Caichen" exhibits many indigenous features that distinguish it from Western musicals: 1.Indigenous Script Creation

 The most significant indigenous feature of this musical is its adaptation from Pu Songling's Strange Tales from a Chinese Studio, specifically the third story in it named “Nie Xiaoqian”.
 Firstly, as a well-known tale from Strange Tales from a Chinese Studio, the story of Nie Xiaoqian and Ning Caichen is familiar to most Chinese audiences, providing a broad popular base for the musical. In recent years, there have been numerous adaptations of this story in the form of plays and films. By adapting a classic literary work, the musical reduces the risk of audience misunderstanding or lack of backgrounds with the plot and characters, which might otherwise affect their viewing experience. Moreover, the original story offers rich plotlines and dramatic conflicts, allowing the musical to retain some of the classic elements without the need for extensive alterations. Additionally, the two main characters are vividly and deeply portrayed in the original novel, which is advantageous for their inclusion in the musical. The combination of music, dance, and other elements further enhances their portrayal.(Li 2022)

2.Indigenous Music Creation

 Unlike the arias and large choral pieces commonly found in Western musicals, Chinese original musicals place greater emphasis on integrating national musical characteristics to cater to the aesthetic preferences of Chinese audiences. For example, in Nie Xiaoqian and Ning Caichen, many songs incorporate traditional Chinese vocal styles. A prime example is the song "Linglong Tower," which Ning Caichen sings while being tempted by various ghosts to stay at the inn on his way to the capital. This song is based on the classic melody of the traditional Chinese folk art form, Xihe Dagu, a type of drum ballad from Northern China. The familiar melody, combined with catchy lyrics, depicts the life appearances of different social classes in the tower, making the content more profound.
 Moreover, in addition to the commonly used Western instruments such as the piano, cello, and violin, the use of traditional Chinese musical instruments is another important feature of Chinese original musicals. This musical features a significant incorporation of traditional instruments like the pipa, bamboo flute, and erhu. For instance, when Nie Xiaoqian recounts her tragic past, a mournful flute sound introduces the song, setting the emotional tone. During the musical climax, Western instruments are added to create a more layered and powerful performance, expressing Nie Xiaoqian's anger towards her fate. It is evident that traditional Chinese musical instruments contribute to the "indigenization" of the musical. Their unique craftsmanship, timbre, and playing techniques differ from those of Western instruments, creating a distinct musical color and adding a unique charm to the "indigenization" of the musical.

3.Indigenous Performance Style

 Western drama follows Aristotle's dramatic concept in his Poetics, "Epics, tragedies, comedies, dithyrambs, and most of the music of the aulos and the lyre - all these are imitations"， emphasizing the imitation of real life and real people, striving for artistic authenticity. Therefore, Western dramas often use elaborate stage settings to recreate realistic scenes. In contrast, Chinese original musicals adopt the Peking Opera principle of " the convergence of the virtual and the real," simplifying the stage settings and using the actors' movements and expressions to recreate the scenes. For example, during the song "Linglong Tower," the stage does not have a physical representation of each floor of the tower. Instead, the actors' movements of going up and down the stairs convey the existence of the tower. Another example is when Nie Xiaoqian appears as a ghost, which should visually create a sense of floating and duplication. To achieve this effect, three people dressed identically to Nie Xiaoqian move in sequence around her, creating the illusion of her ghostly, ethereal movement.（Li 2019,13）

three people dressed identically to Nie Xiaoqian

the stage does not have a physical representation of Linglong Tower

Terms and Expressions musical 音乐剧 Nie Xiaoqian and Ning Caichen 聂小倩与宁采臣 Strange Tales from a Chinese Studio 《聊斋志异》 imperial examinations 科举考试 the eighteenth hell 十八层地狱 Xihe Dagu 西河大鼓 Pipa 琵琶 bamboo flute 竹笛 erhu 二胡 Aristotle 亚里士多德 Poetics 《诗学》 the convergence of the virtual and the real 虚实结合

References [1] Ju Qihong. A Comprehensive History of Chinese Opera and Musical. Anhui Literature and Art Publishing House, January 2014. [2] Wu Minna. The Characterization of "Nie Xiaoqian" in the Original Musical "Nie Xiaoqian and Ning Caichen" [D]. Shanghai Conservatory of Music, 2023. DOI: 10.27319/d.cnki.gsyyy.2023.000192. [3] Li Xiushu. The "Indigenous" Artistic Features of the Musical "Nie Xiaoqian and Ning Caichen" [D]. Nanjing University of the Arts, 2022. DOI: 10.27250/d.cnki.gnjyc.2022. [4] Li Yi. "The 'Chinese Innovation' of the Original Musical 'Nie Xiaoqian and Ning Caichen'" [J]. Northern Music, 2019, 39 (13): 94-95. [5] (Ancient Greece) by Aristotle; Translated by Luo Niansheng. Poetics. Beijing: People's Literature Publishing House, January 2002.

Questions : 1.When did Western musicals begin to be introduced to China? 2.What is the first truly original Chinese musical in China? 3.What kind of character image is Nie Xiaoqian ? What themes does her image reflect? 4.Which Chinese classical masterpiece is Nie Xiaoqian and Ning Caichen adapted from? 5.In which aspects is the "indigenization" of Chinese original musicals reflected? Answer 1. The 1980s 2. Games in the Wilderness 3. Nie Xiaoqian is a realistic character. Before her death, she suffered from her father's abandonment, brutal sexual assault, iron shackles, and other painful torments. She is a microcosm of the misfortunes of all women in feudal society. However, at the same time, she is also a character full of idealism. This woman who has endured countless insults and damages in the human world should have just muddled along, but when facing her inner desires, she still chose to follow her heart, indicating that her spirit of resistance has not yet been extinguished. 4.Strange Tales from a Chinese Studio 5. Plot creation, music composition, performance style

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                                                   中国原创音乐剧：《聂小倩与宁采臣》
                                                             李祖熠

一．中国音乐剧发展介绍

   世界范围内的音乐剧诞生于上世纪 20 年代的英美国家，其中以美国百老汇和英国西区的作品最为兴盛。经过长期的发展，西方音乐剧已然成为一支集文化、娱乐和经济为一体的多元化产业大军。
   随着改革开放后中国对世界不断地开放与接轨，20世纪80年代，音乐剧开始真正进入到中国的视野中。从百老汇引入的音乐剧这种新的艺术形式丰富了人民的娱乐生活，受到了人们的欢迎，于是音乐市场开始重视音乐剧的引入，同时许多具有前瞻性目光的音乐人萌生了创作中文原创音乐剧的想法。在经过多方长期的摸索与实践后，直到1989年，《山野里的游戏》才标志着中国第一部真正意义上的原创音乐剧的诞生。音乐学家，批评家居其宏在其著作《中国歌剧音乐剧通史》写道：“凡是我国艺术家结合中国观众的审美情趣和文化市场消费需求而创作的音乐剧，都是“中国音乐剧”。(居 2014)

而近几年，音乐剧的发展尤为迅速，不仅是原创剧目的增多，剧场演出场次的增加，更表现于音乐剧人才培养的加强，音乐剧理论的研究的深入。同样音乐剧受众群体的覆盖范围越来越广，受众数量也是前所未有的，并且拥有更广泛的娱乐平台，综艺节目增加音乐剧曝光的机会。中国音乐剧整体上呈现出广阔的发现前景。（吴 2023） 二．剧情概述

  《聂小倩与宁采臣》取材于蒲松龄的经典名著《聊斋志异》，由著名剧作家关山和音乐家三宝联合创作，2014年在东莞进行首次演出，是中国原创音乐剧的代表剧目之一。

该剧演绎了一段凄美的人鬼爱情故事。自诩不贪财色，不怕鬼妖的书生宁采臣在进京赶考的路上遭到了女鬼们的拦截。鬼魅们轮番上阵勾魂，宁采臣都不为所动。第二晚，生前受到各种男人背叛与虐待而死的聂小倩再次找到宁采臣，以色，财，生为诱引，但宁采臣依然行止坦荡，聂小倩心生好感，两人饮酒对坐至天明，互生情愫。聂小倩萌生了与宁采臣共度一夜欢愉的想法，尽管代价是她要经过十八层地狱的刀山火海，永世不得超生，但聂小倩依然坚定自己的选择。一夜偷欢后的宁采臣寻找已去往地狱的小倩，却被告之需得自剑殉情才能与小倩团聚，对亡的恐惧和对生的眷恋最终使他扔掉了宝剑，最终只留聂小倩一人在地狱里遭受折磨。 三．主题思想 1.映射出了社会当中不同的人在实现人生理想时不同的精神意志。

 宁采臣这个角色凝结了剧作家关山对当下生活的深刻思考和辛辣嘲讽。他自诩是不贪财，不好色，不贪生的正人君子，却在聂小倩最需要自己时，败给了对死亡的恐惧，让聂小倩一人遭受十八层地狱的折磨。相较于前十二个背叛过聂小倩的男人，他其实才是带给聂小倩最深重的痛苦的那个人。在“唯利是图”的今天，人们都在谈理想，但到了真正要为理想而奉献和牺牲的时候，却都在计算代价。

2.封建社会女性的悲惨遭遇与反抗精神。

 聂小倩是一个写实的角色，她生前遭遇了父亲的抛弃，残酷的性侵，铁镣的束缚等等惨痛的折磨，然而这并不是个例，她是封建社会下所有女性不幸遭遇的一个缩影。纵使她努力挣扎也无法逃出男权社会下对女性的不公。但与此同时她又是个充满理想主义的角色，形象设置又让我们不至悲观绝望，这个在人间遭受了无数侮辱与损害的女人理应得过且过，但她在面对心中的渴望时依然选择了追随自己的内心，表明她内心的反抗精神依然尚未磨灭。

四．剧中体现的本土化特征 作为中国原创音乐剧的代表，《聂小倩与宁采臣》这部作品呈现出许多区别于西方音乐剧的本土化特征： 1.剧本创作的“本土化”

 该剧最显著的本土化特征就是取材于清代蒲松龄的小说《聊斋志异》中的卷三《聂小倩》。

首先，作为《聊斋志异》中的名篇，中国大部分的观众都熟知聂小倩与宁采臣之间的故事，为该剧提供了广泛的群众基础。而且近些年不乏有许多话剧、影视作品是对于同篇故事的改编，因该音乐 剧改编经典文学作品，可以减少观众由于不理解剧情、人物，对故事不认同影响观剧的 风险。而且该作品在影视作品中也不乏改编的作品。如今又以一种新的艺术形式进行改 编来展现，或是观众想与之前改编作品进行一个比较。这些因素无疑能吸引到很大一部分的观众。其次，原篇小说提供了丰富的故事情节与戏剧冲突，剧目可以保留原著小说中一些经典的故事情节，无需进行大幅度的情节调整删改。再而，原篇中两个人物形象刻画得十分深刻与生动，所以两个主人公添于音乐剧中，是十分有优势的，再加上音乐、舞蹈等其他元素与之相得益彰。（李 2022） 2.音乐创作的“本土化” 区别于西方音乐剧常见的咏叹调和大合唱，中国原创的音乐剧更加注重民族音乐特色的融合，以符合中国观众的审美习惯。如在《聂小倩与宁采臣》中，许多歌曲融合了大量民族的唱腔，最典型的唱段就是宁采臣在赶考路上众多鬼魅引诱他留宿在客栈时所唱的《玲珑塔》。该唱段取材于中国北方传统曲艺河西大鼓的经典旋律，观众熟悉的旋律配上朗朗上口的歌词，描绘了不同阶级的生活表象，使歌词内容更加深刻。 此外，除了西方音乐剧的常用乐器如钢琴，大提琴，小提琴等，中国民族乐器的使用也是中国原创音乐剧的重要特点。在这部音乐剧中就融入了大量传统乐器如琵琶，竹笛，二胡的使用。如聂小倩在诉说自己悲惨的身世时，就现由凄凉的笛声为引入，为歌曲奠定了感情基调，在音乐高潮时在加入西方乐器，使得演唱更有层次感，体现出聂小倩对命运的愤怒。由此可见，中国传统民族乐器也在为音乐剧的“本土化”添砖加瓦，而且因其制作工艺、音色、演奏技法的不同与西方呈现出了不同的音乐色彩，为“本土化”创造了独特魅力。 3.表演方式的“本土化” 西方戏剧遵循的是亚里士多德《诗学》的戏剧观念，“史诗和悲剧、喜剧和酒神颂以及大部分双管箫乐和竖琴乐——这一切实际上是模仿”，强调对真实生活和真实人物的模仿，是对艺术真实的追求，所以会最大程度地通过舞台背景地布置来还原真实的情景。而中国原创音乐剧则吸收了中国京剧”以虚写实”的表演法则，简化舞台的场景设置，通过演员的表演动作和神态来还原当时的场景。如《玲珑塔》这一唱段时候，舞台上并没有布置出每一层塔，而是通过演员上下楼梯的动作来表现出塔的存在。再如，聂小倩作为一个鬼出现时应该是飘忽不定的, 从视觉上来看应该是重影的效果, 于是聂小倩出现时同时会有三个与小倩衣着相同的人以小倩为原点依次移动, 形成鬼魅行动的飘逸形象。（李 2019，13）

词汇与表达 Strange Tales from a Chinese Studio 聊斋志异 musical 音乐剧 the eighteenth hell 十八层地狱 Xihe Dagu 河西大鼓 Pipa 琵琶 Bamboo flute 竹笛 erhu二胡 poetics 《诗学》 Aristotle 亚里士多德 the convergence of the virtual and the real 虚实结合

参考文献 [1] 居其宏 中国歌剧音乐剧通史 安徽文艺出版社 2014.1 [2]吴忞娜. 原创音乐剧《聂小倩与宁采臣》中“聂小倩”的人物塑造[D]. 上海音乐学院, 2023. DOI:10.27319/d.cnki.gsyyy.2023.000192. [3]李绣书. 音乐剧《聂小倩与宁采臣》的“本土化”艺术特征[D]. 南京艺术学院, 2022. DOI:10.27250/d.cnki.gnjyc.2022.000248. [4]李忆. 原创音乐剧《聂小倩与宁采臣》的“中国式创新” [J]. 北方音乐, 2019, 39 (13): 94-95. [5] （古希腊）亚理斯多德著；罗念生译. 诗学. 北京：人民文学出版社, 2002.01.

问题 1.西方音乐剧什么时候开始引入中国？ 2.中国第一部真正意义上的中文原创音乐剧是什么？ 3.聂小倩与是怎样的一个人物形象？她的形象体现了什么样的主旨？ 4.《聂小倩与宁采臣》取材于哪本中国古典名著？ 5.中国原创音乐剧的“本土化”体现在哪几个方面？ 答案 1. 20世纪80年代 2.《山野里的游戏》 3.聂小倩是一个写实的角色，她生前遭遇了父亲的抛弃，残酷的性侵，铁镣的束缚等等惨痛的折磨，她是封建社会下所有女性不幸遭遇的一个缩影。但与此同时她又是个充满理想主义的角色，这个在人间遭受了无数侮辱与损害的女人理应得过且过，但她在面对心中的渴望时依然选择了追随自己的内心，表明她内心的反抗精神依然尚未磨灭。 4.《聊斋志异》 5. 剧本创作，音乐创作，表演方式

我在此保证，我没有使用AI的帮助来写这门课的期末论文。

第九讲：旗袍文化与游戏文化 Session Nine: Cheongsam Culture and Game Culture

旗袍文化与翻译 Clothing: Cheongsam and Translation

旗袍作为中国传统服饰的代表，其名称通常音译为"cheongsam"(粤语发音)或"qipao"(普通话发音)，译者需了解这两种译法的使用语境，如在国际时尚领域"cheongsam"更为常见，而学术文章中可能两者并用并说明其语源。

As a representative of traditional Chinese clothing, the name of qipao is usually transliterated as "cheongsam" (Cantonese pronunciation) or "qipao" (Mandarin pronunciation). Translators need to understand the usage context of these two translations. For example, "cheongsam" is more common in the international fashion field, while academic articles may use both and explain their etymology.

旗袍的历史演变中包含丰富的文化信息，翻译时需准确表达不同历史时期旗袍的特点，如满族旗袍、1920年代的改良旗袍、1930年代的上海风格旗袍等，避免将不同时期的特征混淆。

The historical evolution of qipao contains rich cultural information. The characteristics of qipao in different historical periods need to be accurately expressed in translation, such as Manchu qipao, improved qipao in the 1920s, Shanghai-style qipao in the 1930s, etc., avoiding confusion of features from different periods.

旗袍工艺和结构术语的翻译需特别注意专业准确性，如将"盘扣"译为"Chinese knot buttons/pankou buttons"而非简单的"buttons"，将"琵琶襟"译为"overlapping front closure/pipa front"而非简单的"collar"，以准确表达其独特的结构特点。

Special attention should be paid to professional accuracy in the translation of qipao craftsmanship and structure terminology. For example, "pan kou" can be translated as "Chinese knot buttons/pankou buttons" rather than simply "buttons," and "pipa jin" as "overlapping front closure/pipa front" rather than simply "collar," to accurately express their unique structural features.

翻译旗袍文化相关内容时，需关注性别视角和文化身份的敏感问题，既要避免东方主义的刻板印象（如将旗袍简单地与"exotic Oriental femininity"联系），也要准确传达旗袍在中国现代女性身份建构中的复杂角色。

When translating qipao culture-related content, attention should be paid to sensitive issues of gender perspective and cultural identity. It is necessary to avoid Orientalist stereotypes (such as simply associating qipao with "exotic Oriental femininity") and accurately convey the complex role of qipao in the construction of modern Chinese female identity.

口译涉及旗袍主题时，译者需熟悉面料、花纹、剪裁等专业术语，如将"缎面"译为"satin"，"盘金云纹"译为"gold-embroidered cloud pattern"等，同时了解旗袍在不同场合（正式社交、日常穿着、艺术表演等）的文化含义，以准确传达相关语境。

When interpretation involves qipao themes, interpreters need to be familiar with professional terms such as fabrics, patterns, cutting, etc., such as translating "duan mian" as "satin," "pan jin yun wen" as "gold-embroidered cloud pattern," etc., while understanding the cultural meanings of qipao in different occasions (formal social, daily wear, artistic performance, etc.), to accurately convey the relevant context.

重要词汇 | Key Vocabulary

中文拼音英文旗袍 qípáo cheongsam/qipao

盘扣 pánkòu Chinese knot buttons/pankou buttons

琵琶襟 pípájī noverlapping front closure/pipa front

缎面 duànmiàn satin

开衩 kāichà side slit

立领 lì lǐng mandarin collar/stand-up collar

改良旗袍 gǎiliáng qípáo modified qipao

旗人服饰 qírén fúshì Manchu clothing

剪裁 jiǎn cái cutting/tailoring

手工缝制 shǒugōng féngzhì hand-sewn/handcrafted

黑神话：悟空与翻译 Black Myth: Wukong and Translation

《黑神话：悟空》作为基于中国古典名著《西游记》的游戏作品，其翻译需特别注意中国传统文化元素的准确表达，如游戏中的神话人物、法术、武器等需结合原著背景进行翻译，避免与西方奇幻概念混淆。

As a game based on the Chinese classical masterpiece "Journey to the West," the translation of "Black Myth: Wukong" needs to pay special attention to the accurate expression of traditional Chinese cultural elements. Mythological characters, spells, weapons, etc., in the game need to be translated in combination with the background of the original work, avoiding confusion with Western fantasy concepts.

游戏术语与中国传统文化术语的结合是翻译的重点，如将游戏中的技能系统"法相天地"译为"Divine Transformation"时，需注意保留其佛教文化背景，必要时通过注释或游戏内说明传达其文化内涵。

The combination of game terminology and traditional Chinese cultural terminology is the focus of translation. For example, when translating the skill system "fa xiang tian di" in the game as "Divine Transformation," attention should be paid to retaining its Buddhist cultural background, with its cultural connotations conveyed through annotations or in-game explanations when necessary.

游戏中的文言表达和诗词引用在翻译时需特别注意语体风格，如游戏角色的对话可能模仿古代语言风格，翻译时既要保持其古雅氛围，又要确保现代玩家能够理解，可采用适度古风的英语表达来再现这种效果。

Special attention should be paid to stylistic style in the translation of classical Chinese expressions and poetry quotations in the game. For example, the dialogue of game characters may imitate ancient language style. When translating, it is necessary to maintain its elegant atmosphere while ensuring that modern players can understand it. Moderately archaic English expressions can be used to reproduce this effect.

游戏视觉元素中的中国传统文化符号，如建筑风格、服饰设计、器物形象等，在涉及这些元素的描述文本翻译时，需准确使用相应的专业术语，如将游戏中的"飞檐斗拱"译为"flying eaves and dougong brackets"而非简单的"Chinese roof"。

For traditional Chinese cultural symbols in game visual elements, such as architectural style, costume design, implement images, etc., when translating descriptive texts involving these elements, corresponding professional terms need to be used accurately. For example, "fei yan dou gong" in the game can be translated as "flying eaves and dougong brackets" rather than simply "Chinese roof."

口译涉及游戏和中国传统文化结合的内容时，译者需同时熟悉游戏术语和中国文化术语，了解原著《西游记》的经典英译本如Arthur Waley的《Monkey》中的译名选择，在专业游戏术语和传统文化表达之间找到平衡，确保不同背景的听众都能理解。

When interpretation involves content combining games and traditional Chinese culture, interpreters need to be familiar with both game terminology and Chinese cultural terminology, understand the translation choices in classic English translations of the original "Journey to the West" such as Arthur Waley's "Monkey," find a balance between professional game terminology and traditional cultural expressions, and ensure that audiences with different backgrounds can understand.

重要词汇 | Key Vocabulary

中文拼音英文黑神话：悟空 Hēi shénhuà: Wùkōng Black Myth: Wukong

西游记 Xī yóujì Journey to the West

孙悟空 Sūn Wùkōng Sun Wukong/Monkey King

法术 fǎ shù spells/magic

法相天地 fǎ xiàng tiān dì Divine Transformation

筋斗云 jīn dǒu yún Somersault Cloud

如意金箍棒 rú yì jīn gū bàng Ruyi Jingu Bang/Compliant Golden-hooped Rod

妖怪 yāoguài demons/monsters

修为 xiūwéi cultivation level

神通 shéntōng divine powers/supernatural abilities

第九讲测验 Session Nine Quiz

1. 旗袍这一服饰名称有哪两种常见的英文译法？它们各自的使用语境有何不同？What are the two common English translations of the clothing name "qipao"? What are the differences in their usage contexts?
2. 翻译旗袍工艺术语如"盘扣"、"琵琶襟"时应注意哪些专业性问题？What professional issues should be noted when translating qipao craftsmanship terms such as "pan kou" and "pipa jin"?
3. 《黑神话：悟空》作为基于《西游记》的游戏，在翻译相关内容时应特别注意哪些文化因素？As a game based on "Journey to the West," what cultural factors should be specially noted when translating content related to "Black Myth: Wukong"?
4. 游戏中的文言表达和古风对话在翻译时有哪些特殊挑战？译者可采取什么策略？What special challenges do classical Chinese expressions and archaic dialogues in games have in translation? What strategies can translators adopt?
5. 在翻译旗袍文化相关内容时，如何避免东方主义的刻板印象？请给出具体建议。How can Orientalist stereotypes be avoided when translating qipao culture-related content? Please give specific suggestions.