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My name is Zhang Shuaichao, and I specialize in English translation. The theme of my thesis is Ru porcelain, and I hope to promote the culture of hometown.
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__NOTOC__
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==Final Exam==
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This platform is for scholars, instructors and students to jointly write and publish books as well as to provide and use course material.
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=== Ru Porcelain===
 
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====Introduction====
 
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In the long scroll of Chinese ceramic history, Ru ware is like a meteor that suddenly streaks across the night sky. Its brilliance was brief but has been eternally inscribed in the memory of civilization. It did not originate from the hustle and bustle of market workshops, nor was it mass-produced for overseas trade. Instead, it emerged from the depths of the imperial court during the late Northern Song Dynasty, born of an extreme aesthetic awareness. Its fate was closely tied to the artistic personality of Emperor Huizong of Song, Zhao Ji, who was renowned for his calligraphy and painting. His aesthetic was deeply influenced by Taoist philosophy and the artistic conception of literati painting, pursuing a realm of "heavenly craftsmanship and freshness". When Ding ware white porcelain was deemed "unsuitable for use" due to its "rough edges" and overly elaborate decoration, an imperial decree directed towards Ruzhou marked a turning point in ceramic history. The Ru kiln was thus elevated from a civilian kiln to an "official kiln" dedicated to the imperial court, with its mission shifting completely from practical market use to pure artistic expression. However, history was extremely stingy with the time given to this ultimate pursuit. The flames of war during the "Jingkang Incident" abruptly consumed the prosperity of the Northern Song Dynasty, and the kilns of Ru official ware were extinguished, with its secret techniques lost in the dust of history. This sudden end has instead bestowed a tragic and sacred aura upon each of its surviving pieces, making them dual witnesses to the glory of the era and the downfall of the empire, and establishing their unparalleled legendary status.
 
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====the Secrets of Site====
 
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Where exactly did this legendary kiln fire first ignite? After a thousand years of searching, it was finally confirmed at the end of the 20th century in Qingliangsi Village, Baofeng County, Henan Province. The archaeological excavation revealed a highly specialized and tightly organized imperial production site. This area was distinct from the large-scale civilian kiln zones, with a compact layout and a small number of kilns, all hinting at the "pursuit of quality over quantity" characteristic of imperial use. The mountains of discarded porcelain shards were a shocking testament to the extremely strict and almost ruthless selection standards of the time - any piece with even the slightest flaw would be smashed on the spot and buried deep, ensuring that only the perfect ones could leave the kiln. These fragments buried by time have become precious keys for later generations to decode Ru porcelain. They confirmed the delicate and warm texture of the "incense ash body", revealed the details of the "sesame seed nail" support firing technique, and with their pure sky-blue glaze, echoed the few surviving Ru porcelains, providing irrefutable physical evidence that solidified this place's status as the core production site of Ru official kilns, grounding the legendary tales in historical reality.
 
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====Manufacturing process====
 
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The beauty of Ru porcelain is so uniquely distinctive, and the core lies in the ancient artisans' mastery of a specialized firing technique. The craftsmen must first select the special clay from local sources, washing and settling it repeatedly to filter out all impurities, ultimately obtaining a fine clay-like material resembling flour. When fired with this clay, the body takes on a faint grayish-white hue, feeling exceptionally smooth and silky—a trade term known as "fragrant ash body." These are no ordinary steps but the foundation for the entire porcelain piece, supporting subsequent glaze colors and textures. The firing process itself poses a formidable test for the craftsmen. During firing, they must precisely control the heating and cooling rhythms, meticulously adjusting the kiln's atmosphere at critical junctures. Only by mastering these details can the pure, soft, and serene celadon hue be achieved. After the Ru porcelain is removed from the kiln, another crucial step lies in the cooling phase. At the microscopic level invisible to the naked eye, the glaze's internal structure gradually transforms, forming layers of extremely fine textures. When light strikes the porcelain surface, it doesn't reflect directly back but instead diffuses slowly among these delicate textures, ultimately revealing a luster as smooth as jade yet more subdued—a quality never achievable solely through glaze formulations. This unparalleled texture emerges only through the interplay of multiple factors: the earth refined by intense fire and the craftsmen's mastery of natural rhythms, all working in perfect harmony.
 
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====Aesthetic Reflection====
 
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When admiring Ru porcelain, one always feels its beauty carries profound significance. That hue of celadon is hard to define, as if capturing the softest moment of dawn sky—delicate, hazy, and soothing to the heart upon prolonged gaze. The forms of Ru porcelain are equally simple, devoid of ornate carvings, relying solely on the curvature of lines to convey charm. This simplicity is not emptiness but the most genuine form left after repeated refinement, growing more intriguing with each glance. Most fascinating is how the minimalist shapes paired with warm glazes imbue the entire vessel with a soul. You’ll recall the sky in nature, the virtues of a gentleman as taught by ancient sages, and even sense the marks time has left on the porcelain’s surface. This beauty is understated yet powerful, capable of quieting the mind and allowing moments of self-reflection.
 
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====Historical Status====
 
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When we place Ru porcelain among the numerous famous kilns of the Song Dynasty, its uniqueness and grandeur become even more evident. Compared to Ding kiln: Ding kiln's white porcelain is renowned for its carved and printed designs, adorned with exquisite and beautiful decorations. Ru porcelain, however, follows a different path—it steps back, embracing simplicity, as if exploring the inner essence of the vessel itself. In contrast to Jun kiln: Jun kiln's beauty lies in the unexpected, dazzling colors achieved through kiln transformation, appearing unrestrained and radiant. Ru porcelain, on the other hand, presents the opposite—a serene and pure beauty achieved through meticulous restraint, a quiet elegance. Even later kilns influenced by Ru porcelain, such as the Southern Song Official Kiln and Ge Kiln, bear a distinct difference. Their glazes tend to be deeper, with more regular and deliberate crackle patterns, exuding a solemn sense of ritual while lacking Ru porcelain's uniquely clear, vibrant, and poetic spirit. Thus, Ru porcelain holds a special place in ceramic history, standing alone atop an aesthetic peak almost unmatched. It represents an irreplicable era—where top-tier craftsmanship, unique materials, an emperor's ultimate personal taste, and the aesthetic pursuits of an entire age converged perfectly, creating an unprecedented and unparalleled masterpiece.
 
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====Current Value====
 
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Ru porcelain is no longer just an old item. It is more like a cultural symbol, representing a choice: to let go of exaggeration, return to reality, and find a comfortable feeling of living with nature. We stand in front of the display cabinet to look at the few genuine items, or to touch the tea utensils that are carefully imitated. What truly moves our hearts is actually the endless desire of people for ultimate perfection and spiritual pursuit. The legend of Ru porcelain is like a story about "perfection" - it was created and slowly disappeared, but later generations searched for it generation after generation. The color of 'blue after the rain' seems like a clean memory left by the sky for future generations after a thousand years when a rain stopped. It is so clear and distant that when people look at it, they will lose focus and yearn for it from the bottom of their hearts.
 
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===Reference===
 
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1.河南省文物考古研究所. 宝丰清凉寺汝窑. 郑州：大象出版社，2008.
 
  
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2.叶喆民. 中国陶瓷史. 北京：生活·读书·新知三联书店，2006.
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=== [[Books|Collaborative Book Projects]] ===
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5 multilingual book projects with 400+ wiki pages in up to 7 languages. Explore our academic publications.
  
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3.冯先铭. 汝窑的发现及其相关诸问题. 见：中国古陶瓷研究会编. 中国古陶瓷研究. 北京：科学出版社，1987.
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'''[[Books|Browse Books →]]'''
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=== Become a Co-Author ===
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Contribute your expertise to our scholarly book projects. Help expand chapters, add references, and improve content.
  
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4.郭木森. 浅谈汝窑、官窑与张公巷窑. 故宫博物院院刊，2009(6).
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'''[https://bou.de/u/index.php?title=Special:RequestAccount Register as Co-Author →]'''
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=== Become a Co-Translator ===
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Help translate academic works into your language. We need translators for EN, DE, ZH, FR, ES, RU and more.
  
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5.李国霞，等. 汝官瓷和钧官瓷胎釉原料的核分析研究. 原子能科学技术，2005(S1).
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'''[https://bou.de/u/index.php?title=Special:RequestAccount Register as Co-Translator →]'''
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===Terms===
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|}
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香灰胎ash colour body 天青Azure 古玩antique 轮廓线Contour line
 
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===Questions===
 
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1.Why is Ru porcelain so rare and legendary in history?
 
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2.How has modern archaeology verified the production source of Ru porcelain?
 
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3.What are the unique scientific and aesthetic characteristics of Ru porcelain's "sky-blue glaze"?
 
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4.What fundamentally distinguishes Ru porcelain in its aesthetic pursuit?
 
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5.What is the contemporary cultural significance of Ru porcelain?
 
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===Answers===
 
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1.The rarity and legendary status of Ru porcelain stem from its nature as an imperial official kiln product and its extremely brief production period. It was not a commercial commodity but exclusively made for the Northern Song court (c. 1086–1126) to satisfy Emperor Huizong's personal aesthetic ideals.
 
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2.In the late 20th century, archaeologists discovered the official Ru kiln site at Qingliangsi Village, Baofeng County, Henan Province. The site yielded numerous shards, kiln tools, and damaged vessels with sky-blue glaze, whose body material, glaze color, and spur-marks matched those of extant Ru pieces.
 
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3.Scientifically, Ru's sky-blue glaze is a high-silica, low-alumina lime-alkali glaze mixed with agate powder. Fired in a specific reducing atmosphere at around 1250°C, the glaze undergoes liquid-phase separation during cooling, forming nano-scale phase-separated structures that scatter light, creating a soft.
 
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4.The fundamental distinction lies in Ru porcelain's extreme simplicity and spiritual expression. Ding ware is known for its exquisite incised and molded white porcelain, emphasizing decorative skill; Jun ware is celebrated for its flamboyant copper-red glaze variations, pursuing accidental color effects and visual drama.
 
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5.contemporary culture, Ru porcelain has transcended its status as an antique to become a symbol of Chinese high culture and the spirit of ultimate aesthetics. Its advocated philosophy of "simplicity, nature, and introspection" continues to influence modern design, art, and lifestyle. In technical recreation.
 
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==期末论文==
 
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===汝瓷===
 
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====介绍====
 
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中国陶瓷史的长卷中，汝瓷似一颗骤然划破夜空的流星，其光芒短暂却永恒地铭刻在文明的记忆里。它并非源于市井作坊的喧嚣，亦非为贸易远洋而批量生产，而是诞生于北宋末年宫廷深处一场极致的审美自觉。其命运与宋徽宗赵佶的艺术人格紧密相连。这位以丹青笔墨名世的皇帝，其审美深受道家哲学与文人画意熏陶，追求“天工与清新”之境。当定窑白瓷因“有芒”且装饰趋于工巧而被视为“不堪用”时，一道指向汝州的御命便催生了陶瓷史的转折。汝窑由此从民窑升格为专供禁中的“官窑”，使命从市场实用彻底转向纯粹的艺术表达。然而，历史给予这份极致追求的时间吝啬至极。“靖康之变”的烽火骤然吞噬了北宋繁华，汝官窑的炉火也随之熄灭，其工艺秘技飘散于历史尘埃。这种戛然而止的命运，反而为其每一件传世品笼罩上悲剧性的神圣光环，使其成为盛世荣光与帝国倾覆的双重见证，奠定了其无与伦比的传奇底色。
 
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====地点选址====
 
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这传奇的窑火究竟在何处燃起？千年的探寻终于在二十世纪末于河南宝丰清凉寺村得到确证。考古发掘揭开的，是一个高度专业化、组织严密的宫廷生产现场。此处与规模庞大的民窑区判然有别，区域紧凑，窑炉精少，处处透露“求精不求多”的御用属性。堆积如山的废弃瓷片，更是触目惊心地诉说着当时严苛到近乎无情的拣选标准——任何稍有瑕疵的制品，都会被当场砸碎深埋，以确保“唯完美者方可出窑”。这些被时光掩埋的残片，成为后世解码汝瓷的珍贵钥匙。它们确证了“香灰胎”的细腻温润，揭示了“芝麻挣钉”支烧的工艺细节，更以其纯正的天青釉色，与寥若晨星的传世汝瓷遥相呼应，以无可辩驳的物证，坐实了此地作为汝官窑核心产地的历史地位，将文献记载中的传奇落于实地。
 
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====制作工艺====
 
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汝瓷的美能这么独特，核心就是古人琢磨出了一套绝活儿烧制法。工匠得先从当地挑那种特别的陶土，一遍又一遍地淘洗、沉淀，把土里头的杂质都滤干净，最后才能得到细得像面粉似的泥料。用这种泥料烧出来的胎体，是淡淡的灰白色，摸上去滑溜溜的特别润，行里人都叫它“香灰胎”——这可不是随便的步骤，正是给整只瓷器打下的好底子，后续的釉色、质感都得靠它撑着。烧窑这道工序，对匠人来说更是实打实的考验。烧窑时，匠人得精准拿捏火候的升温与降温节奏，还得在烧窑的关键节点里，仔细调控窑内的气氛走向，只有把这些细节都把控到位，才能烧出那抹澄澈又柔和的天青色。等汝瓷出窑后，冷却的环节里还藏着最后一重门道。在肉眼看不见的微观层面，釉层内部的结构会慢慢发生变化，形成一层层极细的纹理。当光线落在瓷面上时，不会直直地反射回去，反而会在这些细密的肌理间缓缓漫开，最终呈现出一种像玉石般温润、却又比玉石更内敛的光泽。这般独特的质感，从来不是只靠釉料配方就能造出来的，而是泥土经烈火淬炼、匠人顺天时把控，多重因素相互配合才打磨出的成果。
 
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====美学凝思====
 
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赏汝瓷的时候，总觉得它的美藏着特别的深意。那抹天青色很难说清，就像把清晨天空最柔和的瞬间定格了，淡淡的、朦朦胧胧的，多看几眼，心就静了下来。汝瓷的造型也极简单，没有花哨的雕刻，只靠线条的弧度传递韵味。这份简洁不是空无一物，而是反复打磨后留下的最本真模样，越看越有味道。最有意思的是，简约造型搭配温润釉色，整件器物就有了灵气。你会想起自然里的天空，想起古人讲的君子修养，甚至能触摸到时间在瓷面上留下的印记。这种美不张扬，却带着力量，能让人沉下心来，好好和自己相处片刻。
 
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====历史地位====
 
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当我们把汝瓷放到宋代那么多名窑里去看，它的特别和崇高就更明显了。和定窑比：定窑的白瓷，靠刻花、印花出名，装饰得精巧漂亮。汝瓷走的是另一条路——它往回走，往简单里走，更像是探索器物自己的内心。和钧窑比：钧窑的美，在于窑变后那些意想不到的绚丽色彩，奔放、灿烂。汝瓷的美却正好相反，它展现的是一种被高度克制后的宁静和纯粹，是安安静静的美。就算是后来受它影响的南宋官窑和哥窑，味道也不太一样。它们的釉色往往更深沉，开片的裂纹也更规矩、更刻意，带着一种庄重的仪式感，而少了汝瓷那种独有的清透、鲜活，还有那份诗一样的灵气。所以说，汝瓷在陶瓷史上的位置很特别，它独自站在一个几乎无人能及的美学山顶上。它代表着一段无法重来的历史——那是顶级的工艺、特别的材料、一位皇帝极致的个人品味，加上整个时代的审美追求，所有这些因素刚好碰在一起，造就的一场空前绝后的完美相遇。
 
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====当今价值====
 
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汝瓷到了现在，早就不只是一件老物件了。它更像一个文化符号，代表着一种选择：放下浮夸，回归真实，找和天地自然相处的舒服感觉。我们站在展柜前看那没几件的真品，或是平常摸一摸用心仿的茶器，心里真正被打动的，其实是人对极致完美和精神追求的那份一直没停的渴望。汝瓷的传奇，就像一个关于“完美”的故事——它被造出来，又慢慢消失，后人却一代又一代地找它。那“雨过天青”的颜色，好像千年前一场雨停了，天空留给后人的一段干净记忆。它那么清透，那么遥远，人看着看着，就会走神，打心底里向往。
 
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===参考文献===
 
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1.河南省文物考古研究所. 宝丰清凉寺汝窑. 郑州：大象出版社，2008.
 
  
−
2.叶喆民. 中国陶瓷史. 北京：生活·读书·新知三联书店，2006.
 
  
−
3.冯先铭. 汝窑的发现及其相关诸问题. 见：中国古陶瓷研究会编. 中国古陶瓷研究. 北京：科学出版社，1987.
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=== [https://china-studies.com/wacs/2026.php WACS 10 — 10th World Conference of Chinese Studies] ===
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'''12–14 August 2026, The University of Hong Kong'''
  
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4.郭木森. 浅谈汝窑、官窑与张公巷窑. 故宫博物院院刊，2009(6).
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Over 300 scholars from around the world have already registered with a presentation topic for the 10th World Conference of Chinese Studies (第十屆世界漢學論壇). [https://china-studies.com/wacs/2026.php More information and registration →]
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If you want to participate with the right to edit in the platform, please read the [http://bou.de/u/wiki/Copyright Copyright Disclaimer, Legal Notice and Data Rights Information] first. Afterwards, if you agree to the Terms and Conditions, please [[uvu:Community_Portal#How_to_register_for_this_Wiki|register]] on this platform (German manual [[uvu:Community_Portal#German_Manual:_Wie_Sie_sich_auf_diesem_Wiki_registrieren|here]]). Here you can learn [https://bou.de/u/wiki/uvu:Community_Portal how to use this Wiki.] General information for students on [[uvu:Community_Portal#How_to_write_a_scholarly_paper|How to write a scholarly paper]]/thesis.
  
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5.李国霞，等. 汝官瓷和钧官瓷胎釉原料的核分析研究. 原子能科学技术，2005(S1).
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<div style="border-top: 2px solid #ccc; margin-top: 20px; padding-top: 10px;">
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===术语===
 
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香灰胎ash colour body 天青Azure 古玩antique 轮廓线Contour line
 
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===问题===
 
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1.为何汝瓷在历史上如此稀有且具有传奇色彩？
 
  
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2.现代考古学如何证实了汝瓷的生产源头？
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==Courses==
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===Summer Semester 2026===
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*THU 16:30-18:10 409 中国文化概要 [[Overview on Chinese Culture Spring 2026]] (09230030.01)(1-16,腾龙楼409教室) BA24级
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*WED+THU 翻译理论与实践 [[Translation Theory and Practice Spring 2026]] (09231022.01)(1-16,腾龙楼 WED 604, THU 403) BA22级德语
  
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3.汝瓷的“天青釉”有何独特的科学与美学特征？
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===Fall Semester 2025===
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*(Please participate in the current <span style="color:red">'''surveys:'''</span> Learning for learners who use less AI https://wn8ae3qwafbc11zv.mikecrm.com/0ORq8JB, Student Life 2024 https://wn8ae3qwafbc11zv.mikecrm.com/CTrdOjm, EU https://wn8ae3qwafbc11zv.mikecrm.com/9gdWrQT, Learning for learners who use more AI https://wn8ae3qwafbc11zv.mikecrm.com/IG0IkOp)
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*1 THU 8-8:45, 8:55-9:40 406 [[Uebungen Deutsch für Anfaenger - 2025]] 基础德语练习(09231023.01) (双2-16,腾龙楼406教室) 24级
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*3 THU 19:00-19:45; 19:55-20:40; 20:50-21:35 [[Chinese Language and Culture - 2025]] 中国语言文化-25级MITA专硕, 3-16周[连续]，晚上1-3节, 腾龙楼613教室 (学委：找研办邓老师调课)
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*2 FRI 8-8:45, 8:55-9:40 501 [[Deutsch Multimedial 2 - 2025]] 德语视听说（二）(09231031.01)(1-16,腾龙楼501) 23级
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*1 (starting Oct 27) FRI 10-10:45, 10:55-11:40 406 [[Muendliches Deutsch 1 - 2025]] 德语口语（一）(09231017.01) (9-16,腾龙楼406教室) 24级
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*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
  
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4.汝瓷在美学追求上有何根本区别？
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<div class="mw-collapsible mw-collapsed" style="border:1px solid #aaa; padding:5px; margin:5px 0;">
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<div style="font-weight:bold;">Previous Semesters (click to expand)</div>
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<div class="mw-collapsible-content">
  
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5.汝瓷的当代文化意义是什么？
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====Spring Semester 2025====
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*1 FRI 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
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*1 FRI 10-10:45, 10:55-11:40  BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
 +
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
  
−
===答案===
+
====Summer Semester 2025====
−
1.汝瓷的稀有性与传奇地位，源于其作为宫廷官窑制品的属性以及极为短暂的生产周期。它并非商品，而是专门为北宋宫廷（约1086–1126年）烧造，以满足宋徽宗个人的审美理想。
+
*THU 8-8:45, 8:55-9:40 BA22翻译理论与实践 [[Theorie und Praxis der Übersetzung, Frühl. 2025]] (09231022.01)(1-16,至善楼204教室) 22级 Wang Zhuochen, 学委 Mia Xu Xuanlin, 教务办 Xiong Zhi
 +
*THU 16:30-18:10 601 [Weeks 1-8: WED 8-8:45, 8:55-9:40 407] 中国文化概要 [[Overview of Chinese Culture, Spring 2025]] (09230030.01)(1-16,腾龙楼407教室) BA23级 Zhong Weiping （1st major foreign literature, 2nd English language)
 +
*FRI 12:45-14:15 中国语言文化 [[Chinese Language and Culture, Spring 2025]]（400010009）MTI24级专硕1-16周[连续]，腾龙楼613教室 Zhang Jiaxin 张嘉欣
 +
*2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)
  
−
2.20世纪末，考古学家在河南省宝丰县清凉寺村发现了汝官窑遗址。该遗址出土了大量带有天青釉的瓷片、窑具及残器，其胎质、釉色与支钉痕均与传世汝瓷相符。
+
====Fall Semester 2024====
 +
*WED 10-10:45, 10:55-11:40 403 BA22德语语言学导论 [[Einführung in die deutsche Linguistik, Frühl. 2025]] (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
 +
*THU 10-10:45, 10:55-11:40  BA22德语语法 [[Deutsche Grammatik, Frühl. 2025]] (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
 +
*THU (10:00-10:45,10:55-11:40) 407 [[Mündliches Deutsch 1]] BA2023(3) (Xie Wenxia) 德语口语（一）| Oral German I, 周1-周8
 +
*THU (19:00-19:45,19:55-20:40,20:50-21:35) 至善楼105 [[Chinese Language and Culture 2024]] MA2 (23级笔译口译) 中国语言文化
 +
*FRI (8:00-8:45,8:55-9:40) 403 [[Übungen Grundkurs Deutsch]] BA2023(3) (Xie Wenxia) 基础德语练习
 +
*FRI (10:00-10:45,10:55-11:40) 506 [[Deutsch Multimedial 2]], BA2022(2) (Wang Zhuochen) 德语视听说（二）
 +
*Online 2 GXR09016.01 [[Topics in Chinese and Foreign Comparative Literature]]中外比较文学研究专题
  
−
3.从科学角度，汝瓷的天青釉是一种掺入了玛瑙末的高硅低铝石灰碱釉。在大约1250°C的特定还原气氛中烧成，釉层在冷却时会发生液相分离，形成纳米尺度的分相结构，散射光线
+
====Summer Semester 2024====
 +
*THU 9:45-11:15 s. 413 [[Text Comp 2024]] 文章写作, Adam Mickiewicz University, Poznan
 +
*THU 11:30-13:00 s. 401 [[Chin Cult 2024]] 中國文化, Adam Mickiewicz University, Poznan
 +
*FRI 9:45-11:15 s. 424 [[Chin Poetry 2024]] 中國文學-詩歌, Adam Mickiewicz University, Poznan
 +
*THU 8:00-9:40 [[Trans TP 2024]] 翻译理论与实践 BA3, Hunan Normal University
 +
*FRI 8:00-9:40 [[Cult Ov 1 2024]] 中国文化概要 BA2, Hunan Normal University
 +
*FRI 10:00-11:40 [[Cult Ov 2 2024]] 中国文化概要 BA2, Hunan Normal University
  
−
4.根本区别在于汝瓷极致的简约性与精神性表达。定窑以其精美的刻花与印花白瓷闻名，强调装饰技艺；钧窑则以其绚烂的铜红窑变釉著称，追求色彩的偶然性与视觉冲击力。
+
====Earlier Semesters====
 +
* [[Chinese Language and Culture - 2025]], [[Uebungen Deutsch für Anfaenger - 2025]], [[Deutsch Multimedial 2 - 2025]], [[Muendliches Deutsch 1 - 2025]]
 +
* [[Chinese Language and Culture, Spring 2025]], [[Overview of Chinese Culture, Spring 2025]], [[Theorie und Praxis der Übersetzung, Frühl. 2025]]
 +
* [[Chinese Language and Culture 2024]], [[Deutsch Multimedial 2]], [[Mündliches Deutsch 1]], [[Übungen Grundkurs Deutsch]]
 +
* [[Chinese Culture 2023]], [[Chinese Classics Translation Spring 2023]], [[Introduction to Chinese Culture Spring 2023]]
 +
* [[Chinese Language and Culture Fall 2022]], [[Translation Theory ZH-DE 2022]], [[Foundations of Chinese Cultures 2022]]
 +
* [[Chinese Classics Translation 2022]], [[Chinese Language and Culture 2022]]
 +
* [[Introduction to Translation Studies 2021]], [[Foundations of Chinese Cultures 2021]]
 +
* [[Chinese Languages and Cultures]], [[Introduction to Translation Studies]], [[German Phonetics]]
 +
* [[Basics of Chinese Culture]], [[Cross Media Storytelling]], [[Holism as a Concept]]
 +
* Earlier courses at Witten/Herdecke, Beijing Normal, Utah Valley, Roma Tre universities
  
−
5.在当代文化中，汝瓷已超越其古董身份，成为中国高雅文化与极致美学精神的象征。它所倡导的“简约、自然、内省”的哲学，持续影响着现代设计、艺术与生活方式。
+
</div>
 +
</div>
 +
 
 +
==Institutions and Chinese Studies Conferences==
 +
*[http://china-studies.com 6th World Conference of Chinese Studies], August 2022 Witten and Berlin
 +
*[http://china-studies.com 5th World Conference of Chinese Studies], August 2021 Witten and Brussels
 +
*[[International Chinese Studies Centre]]
 +
*[http://jmchair.eu Jean Monnet Chair], [[JM|Jean Monnet Work Team]]
 +
* [https://bit.ly/WACS4 4th World Conference of Chinese Studies], August 15-18, 2020 Witten and London
 +
* [http://china-studies.com/wacs/ 3rd World Conference of Chinese Studies] August 24-25, 2019 Witten/Germany and August 26-27, 2019 Paris/France
 +
* [http://china-studies.com/wacs/ 2nd World Conference of Chinese Studies] August 18-19, 2018 Witten/Germany and August 21-22, 2018 Vienna University/Austria
 +
* [http://china-studies.com/wacs/2017_en.html 1st World Conference of Chinese Studies] August 19-20, 2017 Witten/Germany
 +
 
 +
== Useful things ==
 +
* [[Speech scripts]]
 +
* [[Free online tools to learn Chinese]]
 +
* [[DCG-To-Do|DCG-Todo-Liste]], [[To_Do|Assistenz]]
 +
* [[Book_projects|Übersetzungsprojekte]] = Translation Projects
 +
 
 +
</div>
 +
<span style="color:red">'''.'''</span>

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WACS 10 — 10th World Conference of Chinese Studies

12–14 August 2026, The University of Hong Kong

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Courses

Summer Semester 2026

Fall Semester 2025

Previous Semesters (click to expand)

Spring Semester 2025

  • 1 FRI 10-10:45, 10:55-11:40 403 BA22德语语言学导论 Einführung in die deutsche Linguistik, Frühl. 2025 (09231008.01)(5-8,腾龙楼403教室)) Xie Wenxia 23级
  • 1 FRI 10-10:45, 10:55-11:40 BA22德语语法 Deutsche Grammatik, Frühl. 2025 (09231005.01)(1-4,至善楼204教室) Xie Wenxia 23级
  • 2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Summer Semester 2025

  • THU 8-8:45, 8:55-9:40 BA22翻译理论与实践 Theorie und Praxis der Übersetzung, Frühl. 2025 (09231022.01)(1-16,至善楼204教室) 22级 Wang Zhuochen, 学委 Mia Xu Xuanlin, 教务办 Xiong Zhi
  • THU 16:30-18:10 601 [Weeks 1-8: WED 8-8:45, 8:55-9:40 407] 中国文化概要 Overview of Chinese Culture, Spring 2025 (09230030.01)(1-16,腾龙楼407教室) BA23级 Zhong Weiping （1st major foreign literature, 2nd English language)
  • FRI 12:45-14:15 中国语言文化 Chinese Language and Culture, Spring 2025（400010009）MTI24级专硕1-16周[连续]，腾龙楼613教室 Zhang Jiaxin 张嘉欣
  • 2 MOOC GXR09016.01 中外比较文学研究专题（智慧树网络课程）Special Topics in the Study of Chinese and Foreign Comparative Literature (Online courses)

Fall Semester 2024

Summer Semester 2024

  • THU 9:45-11:15 s. 413 Text Comp 2024 文章写作, Adam Mickiewicz University, Poznan
  • THU 11:30-13:00 s. 401 Chin Cult 2024 中國文化, Adam Mickiewicz University, Poznan
  • FRI 9:45-11:15 s. 424 Chin Poetry 2024 中國文學-詩歌, Adam Mickiewicz University, Poznan
  • THU 8:00-9:40 Trans TP 2024 翻译理论与实践 BA3, Hunan Normal University
  • FRI 8:00-9:40 Cult Ov 1 2024 中国文化概要 BA2, Hunan Normal University
  • FRI 10:00-11:40 Cult Ov 2 2024 中国文化概要 BA2, Hunan Normal University

Earlier Semesters

Institutions and Chinese Studies Conferences

Useful things

.

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