20201007 cult

Lou Cancan 娄灿灿

1 苏绣是流传于苏州及其周边地区的民间刺绣工艺，形成于三国时期，与粤绣、湘绣、蜀绣并称中国四大名绣，至今已有2000余年的历史。明清时期，苏绣开始成熟并且逐渐形成了精细、雅洁的风格，它的传承完整且没有断代。

Su Embroidery used to be a popular folk craft in the Yangtze River area around Suzhou City. Together with Yue, Xiang, and Shu embroideries, they are called the Four Famous Embroideries of China. Emerged in the Three Kingdoms Period, Su Embroidery has a history of more than 2000 years. In the Ming and Qing dynasties, it prospered and generally developed its delicate and elegant styles. The legacy of Su Embroidery is consistent without any discontinuities.--Lou Cancan (talk) 12:11, 8 October 2020 (UTC)

2 景泰蓝（Cloisonne），中国的著名特种金属工艺品类之一，到明代景泰年间这种工艺技术制作达到了最巅峰，这一期间制作出的工艺品最为精美，故后人称这种金属器为“景泰蓝”。

Cloisonne is one of China's famous special metal handiworks. This kind of craft reached its peak in the Jingtai period of the Ming dynasty when craftsmen produced the most exquisite cloisonnes, so the later generations called this kind of metal ware "Cloisonne".--Lou Cancan (talk) 12:11, 8 October 2020 (UTC)

3 漆器起源于中国，千百年来一直与中国人的生活息息相关，从王侯贵族到平民百姓，漆器始终是生活的日用器物。

Lacquerware originate in China and have been closely related to the life of Chinese people for thousands of years. From the aristocratic to common people, lacquerware have always been daily-used articles.--Lou Cancan (talk) 12:11, 8 October 2020 (UTC)

4 众所周知，玉雕是中国最古老的雕刻品种之一。早在新石器时代晚期，中华民族就有了玉制工具。商周时期，制玉成为一种专业，玉器是礼仪用具和装饰佩件。在中国古代，玉被当作美好品物的标志和德行的象征。

It is universally acknowledged by the world that jade carving (玉雕) is one of the oldest carving arts in China. Crude jade tools appeared in China as early as in the late Neolithic Age (新石器时代). And in the primitive society, our ancestries began to make manufacturing jade tools such as knife, shovel, ax and lance and the jade ornaments. Jade carving became an industry in the Shang (商) (16th century BC- 11th century BC) and Zhou (周) (11th BC- 221 BC) dynasties. Jade wares were used in rituals or as decorative pendants. In ancient China, jade was also regarded as a symbol of refinement and moral ethics. --Lou Cancan (talk) 12:11, 8 October 2020 (UTC)

Tang Yiran 汤伊然

1.湘绣强调写实，质朴而优美，形象生动，结构上虚实结合，巧妙地将中国传统的绘画、刺绣、诗词、书法、金石各种艺术融为一体。

Xiang embroidery focuses on authenticity and boasts vivid and exquisite designs. With the combination of the real and the virtual, it integrates many other Chinese traditional arts including painting, embroidery, poetry, calligraphy and epigraphy.--Tang Yiran1 (talk) 04:35, 8 October 2020 (UTC)

The Xiang embroidery focuses on authenticity and boasts simple, exquisite and vivid designs. With the combination of the real and the virtual, it integrates many other Chinese traditional arts ingeniously including painting, embroidery, poetry, calligraphy and epigraphy.--Lou Cancan (talk) 12:35, 8 October 2020 (UTC)

2.清代的景泰蓝工艺比明代有提高，胎薄，掐丝细，彩釉也比明代要鲜艳，并且无砂眼，花纹图案繁复多样。

The technology of cloisonné further developed in the Qing Dynasty over that of the Ming Dynasty, with thinner body, finer wire inlay and brighter glaze. Besides, Qing’s cloisonné was free from sand hole and had intricate and varied patterns.--Tang Yiran1 (talk) 04:35, 8 October 2020 (UTC)

The technology of cloisonné further developed in the Qing Dynasty over that in the Ming Dynasty, with thinner body, finer wire inlay and brighter glaze. Besides, Qing’s cloisonné was free from sand holes and had intricate and various patterns.--Lou Cancan (talk) 12:35, 8 October 2020 (UTC)

3.漆器在收藏时应注意避免阳光曝晒、烟熏。收藏室的湿度和温度不宜急剧变化，避免忽干忽湿，最好把漆器放在温度和湿度比较恒定的房中。

Sun and smoke should be avoided for storing lacquerware and the temperature and humidity of the collection room better need to be sustained.--Tang Yiran1 (talk) 04:35, 8 October 2020 (UTC)

Be careful not to expose the lacquerwares to strong sunshine and smoke when storing them. The humility and temperature in collection room should be steady. To avoid the abrupt change in external environment, it would be better to the lacquerwares in room with sustained temperature and humidity. --Lou Cancan (talk) 12:35, 8 October 2020 (UTC)

4.宗教雕塑主要保存于寺庙和石窟寺之内，由于寺庙毁损严重，石窟寺雕塑便成为宗教雕塑遗存的主要代表。

Religious sculptures were preserved in temples and grottoes. Due to severe damage of the former, the remains of these sculptures were mainly housed by the latter.--Tang Yiran1 (talk) 04:35, 8 October 2020 (UTC)

Religious sculptures were mainly preserved in temples and grottoes. Due to severe damage to the former, the remains of these sculptures were primarily housed by the latter.--Lou Cancan (talk) 12:35, 8 October 2020 (UTC)