20201215 cultexam

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Final Exam Paper. Please write now and improve until grading on 2020 12 15

You can use the texts in the coursebook as an example (like Unit 1, Text A). Please write the text and indicate ALL SOURCES with bibliographical references. Please also add a vocabulary list and questions.

Alsied, Saffana

"Chinese Astrology"--SAFFANA ALSIED 2 (talk) 17:07, 18 November 2020 (UTC)

Cao Runxin 曹润鑫

Spring Festival Couplets

Chen Han 陈涵

Chinese traditional musical instrument

Guzheng

Guzheng or Zheng is one of the oldest traditional ethnic musical instruments in China. It belongs to plucked stringed instruments. As early as 2500 years ago, zheng has become an important instrument which was widespread at that time. Due to the long history and its primitive simplicity and elegant sound, people are used to calling it guzheng (gu refers to “ancient”).

The modern-day Guzheng is a plucked musical instrument with 21 strings and movable bridges. It should not to be confused with the guqin, another ancient Chinese zither without bridges. The body of the guzheng is approximately rectangular, with a slight protrusion in the middle of the faceplate and a flat baseboard with speaker holes for easy amplification. The head and tail of the guzheng are respectively anterior mountain and posterior mountain. The two mountains are connected by 21 strings which are supported by 21 bridges. The strings at the anterior side are wound around the string pegs in the turning box. And the guzheng was usually placed on the zither feet. The timbre of the guzheng is determined by the quality of the wood. As the tension of paulownia is better, the body of the guzheng are mostly made of paulownia. The head, tail and other parts of the guzheng are generally made of mahogany wood, and some patterns are decorated on the head and the tail.

Chen Jingjing 陈静静

A. Facial makeup

Facial makeup, a sort of makeup art used in stage performance, is painted on the face of traditional opera singers in China and varies when it come to different types of role. The character roles in Beijing opera are divided into four main types according to the sex, age, social status and profession of the character. Sheng refers to male roles and is divided into laosheng (middle-aged or old men), xiaosheng (young men) and wusheng ( men with martial skills). Dan refers to female roles and is also subdivided into various types. Qingyi is a woman with a strict moral code; and laodan is an elderly woman. Jing refers to the roles with painted faces. They are usually warriors, statesmen or even demons. Chou, clown, is a comic character and can be recognized at first sight for his special make-up. The facial makeup of “sheng” and “dan” is quite simple with a thin layer of powder, called “plain face” while that of “jing” and “chou” is relatively complicated, and the former, in particular, is applied with heavy color and complicated patterns, thus gaining the name of “painted face”. In Beijing Opera, facial make-up, which is applied to Jing roles only, shows the character’s age and personality by using different colors. “Chou” is commonly called the clown as they are accustomed to wiping a patch of white powder on the nose.

People hold different views when speaking of the origin of the facial makeup. It was said facial makeup was closely related to a kind of dance, called Damian, which appeared in the Northern and Southern Dynasties and thrived in the Tang Dynasty. It was performed by a single man aiming to extol King Lanling Gao Changgong’s outstanding military service and merits. He was courageous and good-looking and was bound to win every time he worn a mask that seemed frightening in the battlefield. As for the facial makeup used in opera, it is used to highlight the roles’ character, appearance as well as status, achieving a colorful and fantastic stage.

The legendary drama played a dominant role in Ming Dynasty, rich in content and fine in role division. Both jing and chou are painted their own special facial makeup. The basic color is mostly designed based on the description in the drama literature or the singers’ personal imagination. For instance, facial makeup of Guanyu is red and that of Baozhen is black. Their brow and eyes are exaggerated in some way. The pattern ratio has changed as well. Unlike the Ming Dyansty, there are both simple and sophisticated facial makeups with the same basic color. In the Mid-Qing Dynasty, as the local drama arose, facial makeup varied greatly in different places and possessed distinct local features and folk color. More than 300 kinds of dramas sprung up after the 18th century. Therefore, the drama characters mount and their division is much more finer. More colors like blue, green, yellow, grey and orange are added in jing.

B. Terms and Expressions

painted face 花脸

clown 丑角

legend，romance 传奇剧

Tathagata 如来佛

Sakyamuni 释迦牟尼

Dashkin, Gennadii

Four Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy

1.Liu Cixin（刘慈欣）

2.Chen Qiufan( 陈楸帆 ）

3.Rebecca F.Kuang( 匡蘦秀）

4.Li Jun(李俊）or Baoshu(宝树）

Ding Daifeng 丁代凤

Lion dance

Gan Fengyu 甘奉玉

A. The Eight Tang-Song Prose Masters

 Media:Example.oggThe Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties. 
 Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong.
 In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.

1. Han Yu

 Han Yu was a litterateur, philosopher, and thinker of Tang Dynasty. He was native in Heyang, now Jiaozuo city in Henan province. Han Yu was honored as “ The Decline of Eight Generations” by Su Shi in Song Dynasty, as well as the head of Eight Masters of Prose in Tang and Song Dynasty. Han Yu was called “Han Liu” with Liu Zongyuan, and his proses were juxtaposed with Du Fu’s poems as “ Du poem Han pen” by Du Mu. He enjoyed the fame as “ The Article Giant” and “ Admired Literate of One Hundred Generations” with great works like forty volumes of Han Changli Collection, ten volumes of External collection and The Teacher's Theory. 
 Although disagreement in Liu Zongyuan’s political view, he still worked with Liu Zongyuan in advocating the Ancient Prose Movement. As the pioneers, they were both against excessive pursuit of form of parallel prose but for the prose of Pre-Qin and Han Dynasties and both emphasized the importance of article’s contents so as to expand the expressive function of writing in classical Chinese.
 He was once demoted to Yuan Zhou, which is now in Yichun city in Jiangxi Province because of his comments on Buddha bones.

2. Liu Zongyuan

 Liu Zongyuan was a litterateur, philosopher, proser and thinker of the Tang Dynasty. His ancestral home was Hedong , now in Yongji area of Yuncheng in Shanxi province. He was known as "Liu Hedong ", " Mr. Hedong ", also known as" Liu Liuzhou " because of his official end of feudal provincial of Liuzhou. He was born in Changan and became a successful candidate in the highest imperial examinations in the 9th year of Zhenyuan, later official supervisor of imperial censor .
 He was juxtaposed with Han Yu as "Han Liu ", with Liu Yuxi as " Liu Liu ", with Wang Wei, Meng Haoran and Wei Yingwu as "Wang Meng Wei Liu ". In his lifetime of less than 50 years, he left us more than 600 poems with more achievements in writing than poetry. The "Liu He Dong JColloection" was one of his representatives.
 He was a deep-thinking philosopher and litterateur, who attached importance to the content of the article and advocated that writings should be practical. Therefore, he paid attention to the social function of literature and emphasized that literature should benefit the world. Moreover, he advocated the perfect combination of ideological content and artistic form with a serious attitude in writing. That means, it is important for the writer to have highly moral cultivation.

3. Ouyang Xiu

 Ouyang Xiu was a statesman, litterateur, historian and poet in the Northern Song Dynasty. He was called the “Liu Yi scholar”, which means that he had ten thousands volumes of collections, a thousand volumes of collections of inscriptions of Xia, Shang, Zhou Dynasties, a piano, a chess, a pot of wine and a drunk Weng alone. He was native in Jizhou Yongfeng, now Yongfeng county of Ji’an city in Jiangxi province but born in Mianzhou, now Minayang city in Sichuan province.
 Ouyang Xiu’s poems, Ci and prose were all the crown of that time. His poetry was smooth, lyrical and euphemistic with a similar prose style stressing on momentum while keeping natural smoothness. His Ci was profound and graceful, inheriting the Yu Feng of the Southern Tang Dynasty. The Anthology of Ouyang Wenzhong Gong was his representatives.
 Ouyang Xiu inherited and carried forward the fine tradition of Han and Liu’s ancient prose, and led the Northern Song Dynasty poetry innovation movement. As the leader of this movement, Ouyang Xiu not only drove away the odd style of writing in the literary world, but also opened up a new style in poetry and also a new field of creation with his own unique style and high talent. It has made new achievements and pushed the creation of poetry and prose to a new height.

4. Su Xun

 Su Xun was a native of Meishan in Sichuan. When he was young, he performed poor in learning. In 19 years old, he married Mrs. Cheng. Later in 27 years old, he determined to study hard. After decade of hard work, he made a huge academic progress.
 Su Xun was a man of political ambition. He said that the main purpose of his works was "to speak for the world ", to" apply to the present ". He put forward a whole set of ideas of political innovation in some important argumentative papers such as Heng Lun and The Book to the Emperor. Because he had a better understanding of that social reality and was good at summing up experience and lessons from past history. Therefore, putting aside certain pedantic and biased views in his political discourse, many of them were still right on the spot.  

5. Su Shi

 Su Shi, with a fame as " Dongpo Jushi ", was native in Meishan in Sichuan . He was a famous litterateur, calligrapher, essayist, Ci writer, poet and the representative of the Unconstrained Ci School in Northern Song Dynasty .
 Su Shi has made great achievements in poetry, Ci, prose, calligraphy, painting and so on. He was regarded as one of the most outstanding man in literary and artistic attainments in thousands of years of Chinese history. His was called "Han Chao Su hai" with Han Yu in the prose area, "Ou Su" with Ouyang Xiu, "Su Huang" with Huang Tingjian, and "Su Xin" with Xin Qiji in the Ci area, so he was called "the first all-round talent in ancient China".
 Su Shi's literary viewpoint was in line with Ouyang Xiu's, but he emphasized the originality, expressiveness and artistic value of literature more. His literary thought emphasized "creating for certain purposes", advocating nature and getting rid of bondage. Su Shi was a leading figure in the literary circle of the Northern Song Dynasty after Ouyang Xiu. Moreover, Huang Tingjian, Qin Guan, Chao Buzhi and Zhang Lei, the four litterateurs of the Northern Song Dynasty, had been trained, rewarded and recommended by him, so they were called “Su Men Four bachelors”.

6. Su Zhe

 Su Zhe was born in Meishan, Meizhou , now Sichuan province. In the Jiayou second year (in 1057), he with his brother Su Shi climbed jinshi branch.
 Su Zhe's prose showed the deep and mellow spirit. He had his own views on ancient writing. In the Book to Han Tai Wei in Privy Council, he put forward the theory of "literary style" . He was good at politics and history. He discussed world affairs in some political works such as The New Theory and the Six States.  From these works, we can draw lessons from the past and criticize the current problems. He was also very insightful in reform. In addition, he was also quite outstanding in Ode , such as The "Ode to Ink bamboo".

7. Wang Anshi

 Wang Anshi, also known as Banshan in his twilight years, was conferred the title of Duke Jing . He was born in Linchuan in the Northern Song Dynasty, now Fuzhou City, Jiangxi Province .
 Wang Anshi was not only an outstanding politician and thinker, but also a brilliant litterateur. In order to realize his political ideal, he closely linked literary creation with political activities, emphasizing that literature aimed to serve the society first, that means, he emphasized the realistic function and social effect of articles, and advocated the unity of literature and Taoism. His prose largely carried out his literary propositions because his essays were mostly about the enlightenment of political decrees and suitable for world use.

8. Zeng Gong

 Zeng Gong was known as "Mr. Nan Feng". He was born in Nanfeng, Jianchang, now Nanfeng County, Fuzhou city, Jiangxi Province. In Jiayou second year (in 1057), he became a Jinshi. As a politician and essayist of the Northern Song Dynasty and one of the "eight masters" of the Tang and Song Dynasties, he was also one of the "Seven Zengs of Nanfeng" , including Zeng Gong, Zeng Zhao, Zeng Bu, Zeng Yu, Zeng Hong, Zeng Xie and Zeng Dun.
 Zeng Gong was a supporter and participant of Ouyang Xiu's ancient prose movement. He advocated the doctrine before the text. His prose was natural and simple and little attention to literary grace. Of the eight masters, he was the less affectionate one. His articles were rarely lyrical works, but mostly argumentation and narrative. His prose was good at making arguments, for example, the Book to Ouyang She Ren, the Book to Bachelor CAI. In these works, he argued on the treatment of disorder and expressed his deep feelings.

B. Terms and Expressions

The Eight Tang-Song Prose Masters 唐宋八大家

Banknotes of Eight Masters of Tang and Song Dynasties 《唐宋八大家文钞》

Ancient Prose Movement 古文运动

parallel prose 骈文

Gao Mingzhu 高明珠

Pipa--Gao Mingzhu (talk) 08:22, 2 November 2020 (UTC)Gao Mingzhu

Grosheva, Anna

Huli-jing figure in Chinese mythology and its analogs in Japan and Korea

1. Huli-jing (狐狸精) in China

2. Kitsune (キツネ) in Japan

3. Kumiho (구미호) in Korea

Gu Dongfang 顾东方

Chinese Characters

Guan Qinqing 管钦清

Four Chinese Folk Love Stories

1.Meng Jiangnü Cries the Great Wall

2.The Legend of White Snake

3.The Butterfly Lovers

4.The Cowherd and the Girl Weaver

Vocabulary list

Questions

Guirou, Barthelemy

Chinese Mythology

A. Pan Gu Created the Universe

B. Nü Wa Created Human Beings

C. Fushi Taught the People

D. Yu Rebuilt the Earth

Gui Yizhi 桂一枝

Chinese gods and immortals--Gui Yizhi (talk) 16:09, 8 November 2020 (UTC)

Guo Lu 郭露

Classical Prose Movement of late Tang dynasty and Song dynasty

Definition

The Classical Prose Movement of late Tang dynasty and Song dynasty in China, also known as the "Classical Prose Movement", is a movement with the style reform as its surface and Confucianism Renaissance as its core. The word “Gu Wen” was first introduced by Han Yu, it indicates the prose of the pre-Qin period and of Han dynasty. This movement took clarity and precision as priorities, it stood against the florid pianwen or parallel prose style that had been popular starting from Han dynasty. Parallel prose had a rigid structure and was criticized for being overly ornate at the expense of content. Therefore, Han Yu, together with Liu Zongyuan, launched this movement to make a difference so that they could revive the Confucianism and promote their political thoughts. This movement tended to follow the spirit of pre-Qin prose rather than to imitate it directly. People used elements of colloquial language to make their writings more direct.

Development

The Classical Prose Movement went through three stages. The first promoters of this movement were Han Yu and Liu Zongyuan who were not only great writers but also great theorists, forming the foundation of it. Both were enthusiastic to promote the movement and were keen to teach young people so that it could achieve further development and then revive the Confucianism.

However, after the deaths of Han Yu and Liu Zongyuan, the movement fell into a decline, their students writing with such ancient characters as to hinder understanding or neglecting the importance of writing good essays. Furthermore, the government only allowed people to use pianwen for official use, so those who want to be officials had to learn that style.

After that, Ouyang Xiu once again advocated the classical prose in the Song dynasty. As many people were dissatisfied with the florid piantiwen style, the Classical Prose Movement reached another peak during that period. This movement is consequently also called the Classical Prose Movement of the late Tang dynasty and the Song dynasty.

Representatives

1.Han Yu

Han Yu (768 – 824), courtesy name Tuizhi, also known his art names Han Changli or Chang Li Xian Sheng. He was born in present-day Mengzhou, Henan, he was a Chinese prose writer, poet, and philosopher who significantly influenced the development of Neo-Confucianism. Due to his influence on the Chinese literary tradition, he is described as “Comparable in stature to Dante, Shakespeare or Goethe”. Meanwhile, he is often considered to be among China’s finest prose writers. Ming dynasty scholar Mao Kun ranked him first in the "Eight Great Prose Masters of the Tang and Song"，and Su Shi, another famous poet, once praised that “His prose reversed the literary decline of eight dynasties”.

Han Yu wrote a large volume of works, which includes over 700 poems and nearly 400 prosses. He is especially famous for his On Teachers, which says “A teacher is one who passes on the truth, imparts knowledge and solves puzzles”. This persuasive pross is short but well structured, and it has a strong appeal to people, which also has a positive impact on youth education.

2.Liu Zongyuan

Liu Zongyuan (773 – 819), courtesy name Zihou, also known by his art names He Dong Xian Sheng or Liu He Dong, was a Chinese literature, philosopher, politician and poet who lived during the Tang Dynasty. And Liu was born in present-day Yongji, Shanxi. Along with Han Yu, they were called Han Liu. Besides that, he has been classed as one of the “Eight Great Prose Masters of the Tang and Song”, which also includes Han Yu and Ouyang Xiu. Liu's best-known travel pieces are the Eight Records of Excursions in Yongzhou. And one of his most famous poems is Jiangxue.

3.Ouyang Xiu

Ouyang Xiu (1007 – 1072), courtesy name Yong Shu, also known by his art names Zuiweng and Liu Yi Jushi. He was a Chinese essayist, historian, poet, calligrapher and even a politician of the Song dynasty. Being a much-celebrated writer, both among his contemporaries and in subsequent centuries.

Ouyang Xiu was in charge of the writing of the New Book of Tang, and he also wrote the Historical Records of the Five Dynasties independently, the only book in the Twenty-Four Histories to have been written in private by a single author. As a poet, he was a noted writer of both the shi and ci genres. But it was his prose writings like Zuiweng Tingji that won him the greatest acclaim. The poem's most well-known line is: The Old Toper cares not for the wine, his interest lies in the landscape, an idiom still used in modern Chinese to describe someone with an ulterior motive. Together with Han Yu, Liu Zongyuan and Su Shi, Ouyang Xiu was considered to be one of the Article four all through the ages.

Except for Han Yu, Liu Zongyuan and Ouyang Xiu, there were many other representatives of this movement. For example, Su Xun, Su Shi, Su Zhe, Zeng Gong and Wang Anshi also made great contributions to the Classical Pross Movement. Considering their influences, they were also listed as Eight masters in Tang and Song Dynasties.

Masterworks

Under the influence of the Classical Prose Movement of the late Tang dynasty and the Song dynasty, there appeared a large volume of masterpieces, which have a far-reaching influence on later ages. Except from the works of Han Yu, Liu Zong Yuan and Ouyang Xiu, other works like Shang Zhongyong written by Wang Anshi, On Jia Yi and First Ode to the Red Cliff by Su Zhi, were also considered the representative works of this movement.

Influence

The Classical Prose Movement of the late Tang dynasty and the Song dynasty is a milestone during the development of Chinese ancient prose, it has a profound influence on the later schools of literature like Tang-Song School in the Ming dynasty and Tong Cheng school in the Qing dynasty. Besides that, it also helped to lay a solid foundation of pross in China, and acted as a fine example for later scholars.

Ha, Thi Thu Hang

The culture of Red envelope and Lucky money--HATHITHUHANG2 (talk) 09:02, 2 November 2020 (UTC)

The tradition of Red envelope and Lucky money--Root (talk) 08:04, 23 November 2020 (UTC)

He Changqi 何长琦

17.1 The orgin and development of the twenty-four solar terms

“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar, with a profound history in China. Created by ancient Chinese when observing the annual movement of the sun, the twenty-four solar system is seen as a system of time knowledge and the agricultural guideline. It originated in the Yellow River valley, and is the result of people's observation, exploration and summary of astronomy, meteorology, and weather, which is an excellent cultural heritage created by the ancient Chinese people. By the late Western Zhou Dynasty, people had already measured the first four solar terms: winter solstice, summer solstice, spring equinox and autumn equinox. Afterwards, with the improvement of measurement technology and the further strengthening of people's understanding of the laws of nature, during the Warring States period, the complete twenty-four solar terms were basically formed, and during the Qin and Han dynasties, the complete twenty-four solar terms system was perfected and formed into today's complete twenty-four solar terms system.1

17.2 The definition and classification of the twenty-four solar terms

“The twenty-four solar term” is a unique phenomenon on traditional lunar calendar. To facilitate agricultural production, ancient Chinese people summarized a supplementary calendar that divides a year into 24 segments according to the sun’s movement on the ecliptic and seasonal changes in weather and other natural phenomena, with 24 segments proportionally distributed through 12 months. (术语) A solar term that starts in the early part of a month is called jie (节), and one that starts in the meddle part of a month is called qi (气). ( Every three years there would be a month which has only a jie without a qi, or a month which has only a qi without a jie, in which case a leap month would be added to regulate it. ) The solar terms are so named that they represent the changes in season,phenology and climate. The eight solar terms that reflect seasonal changes are Beginning of Spring, Vernal Equinox, Beginning of Summer, Summer Solstice, Beginning of Autumn, Autumnal Equinox,Beginning of Winter, and Winter Solstice; the four solar terms that represent phenological changes are Waking of Insects, Fresh Green, Lesser fullness and Grain in Ear; and the 12 solar terms that indicate the changes in climate are Rain Water,Grain Rain,Lesser Heat, Greater Heat, End of Heat, White Dew, Cold Dew, First Frost, Light Snow, Heavy Snow, Lesser Cold, and Greater Cold.

Vocabulary List

--He Changqi (talk) 08:10, 23 November 2020 (UTC)

Questions

References:He Changqi (talk) 10:11, 20 November 2020 (UTC)

Jiang Fengyi 蒋凤仪

Chinese Paper Cutting 剪纸

Text

Terms and Expressions

Questions

Kang Haoyu 康浩宇

Chinese Red Culture

Chinese red culture is unique in the world. As a very important cultural resource, it has both tangible culture and intangible culture. Red culture in China refers to the advance culture with Chinese characteristics created by party and people in revolutionary years.

1. Development

China has brilliant history and splendid civilization in ancient times. However, with the Opium War of 1840, China was plunged into the darkness of domestic turmoil and foreign aggression. Despite of all efforts that countless dedicated patriots had made, they still failed to change the plight. The October Revolution in Russia brought Marxism-Leninism. With Communism as the the highest ideal and ultimate goal, the Communist Party of China shouldered the historic mission of national rejuvenation. With the firm leadership of the party, Chinese people embraced national independence, people's liberation, national reunification and social stability, and stepped into a new era of prosperity and happiness.

Red culture is condensed by the Communist Party of China in the great struggle of leading the Chinese revolution. It is an advanced Marxism culture that was inherited and developed in the new period of socialist construction. It's a collectivism culture of bravery, sacrifice and devotion that seeks happiness for the Chinese people and rejuvenation for the Chinese nation.Red culture is embodied in the aspects of ideal belief, value pursuit and spiritual outlook, and is integrated into material remains, mechanism behaviors and cultural and artistic forms.

First of all, red culture is a revolutionary culture, which was formed by the Chinese Communist Party in the great struggle of leading the Chinese revolution. After the founding of People's Republic of China, the Communist Party of China led the Chinese people to inherit and carry forward the revolutionary culture. In the new period of socialist construction and reform and opening up, a vigorous and advanced socialist culture was formed, which enriched and developed the connotation of red culture. Revolutionary culture and advanced socialist culture are two major components of red culture, and are the core value and spiritual subject of contemporary Chinese culture. As for Chinese red culture, Among them, Marxism is the soul, the common ideal of socialism with Chinese characteristics is the theme, the national spirit and the spirit of the times are the essence, and the socialist concept of honor and disgrace is the foundation. These four aspects influence, infiltrate and interact with each other, revealing the essential characteristics of red culture scientifically and completely.

2. Symbols

The word “red” in “red culture” has many symbols. Chinese people have “red” complex since ancient time. Red represents authority. For, example, official documents are also called red heading documents. Red represents courage. Red is the color of Chinese national flag. Chinese military strategists and generals have a deep understanding of the role of red in war, so they use red flags to unite their morale, inspire their fighting and their courage, and summon the spirit of going forward bravely and not fearing sacrifice. Red represents honor and auspiciousness. For instance, the places are always adorned with red for conference and ceremony. People are awarded with red flower and red certificates. Red represents revolution. When Marx was asked about "favorite color" in his early years, he clearly answered "red". In 1864, First International was founded, and its logo was red. The first army of Communist Party of China was named Red Army, and Ruijin, the first revolutionary base area, was called Red Capital. There were also red boats in South Lake and red flags in Jinggangshan.

3. Values

Red culture has many values. Red culture has the value of history. It witnesses the early development history of the Communist Party of China. It shows the inevitability of the socialist road in China. And it is an important weapon to guide the success of Chinese revolution. Besides, red culture has the value of civilization. Carrying forward the red culture is an urgent need to cultivate a new national spirit. Red culture is important for the construction of socialism culture and ideology. Moreover, red culture has the value of economy. Red culture is a powerful driving force for the development of socialist market economy. It is an important medium of economic development under the new historical conditions. The red cultural industry has become a new economic growth point.

4. Red Culture in Nanchang

Nanchang is the capital city of Jiangxi Province and it is where August 1st uprising took place. Nanchang is renowned as the cradle of Chinese revolution and the place where the military flag rose. Because in August 1st uprising, communist party of china formed its first army in Nanchang. There are lots of red culture resources in Nanchang. Bayi Square is at the center of Nanchang city. It was built to memorize August 1st uprising. Bayi Square highlights the theme of "Bayi History and Culture" in all directions. The memorial area, cultural area, reminiscence area and leisure area of Bayi Square show Bayi Uprising in different forms. The landmark in the square is Bayi Nanchang Uprising Memorial Tower. Besides, Nangchang August 1st Memorial Hall is a special memorial hall established to commemorate Nanchang Uprising.

Lei Fangyuan 雷方圆

Yang Jiang--Lei Fangyuan (talk) 03:37, 26 November 2020 (UTC)

Lei Kuangxi 雷旷溪

Four satirical novels in ancient China--Lei kuangxi (talk) 08:22, 9 November 2020 (UTC)Lei Kuangxi

Li Lili 李丽丽

Shadow Puppets(皮影戏)

Li Liqin 李丽琴

Confucian culture 儒家文化 --Li Liqin (talk) 14:44, 15 November 2020 (UTC)

Liu Liu 刘柳

Qian Zhongshu--Liu Liu (talk) 02:19, 9 November 2020 (UTC)

Liu Ou 刘欧

相声 Cross Talk 1. The History of Cross Talk

Cross talk, in the ancient time was known as onomatopoeia, originally refers to imitate others’ voices, also known as neighboring cross talk. It was evolved and further developed from the folk music in North China, and integrated with imitating oral skills and other folk art forms. It is generally believed to be formed during the Emperor Xianfeng （1850—1861）and Emperor Tongzhi（1861—1874）period in Qing dynasty. It’s a folk vocal art that uses jokes or funny questioning and answering to make the audience laugh. In the early years of the Republic of China, cross talk gradually developed from one-person ventriloquism to stand-up one person talk, and the name changed to cross talk. Later, it gradually developed into stand-up cross talk, dual cross talk, and group cross talk. And become a veritable form of art. After years of development, dual cross talk has finally become the most popular form of cross talk among audiences.--Liu Ou (talk) 06:33, 23 November 2020 (UTC)

2. Famous Artists of Cross Talk

Liu Yi 刘艺

Go 围棋--Liu Yi (talk) 08:04, 9 November 2020 (UTC)

Liu Yiyu 刘怡瑜

The four most handsome men in ancient China

Lou Cancan 娄灿灿

The Four Grottoes of China--Lou Cancan (talk) 08:23, 2 November 2020 (UTC)

Luo Weijia 罗维嘉

Ancient Chinese Education

1. The History of Ancient Education

2.Classification of Ancient Chinese Education

3.Civil Service Examination System

4.Ancient China Academies --Luo Weijia (talk) 08:27, 2 November 2020 (UTC)

Luo Yuqing 罗雨晴

The Forbidden City--Luo Yuqing (talk) 08:30, 2 November 2020 (UTC)

Mo Ling 莫玲

Chinese Marriage Customs--Mo Ling (talk) 08:24, 2 November 2020 (UTC)Mo Ling

A.Procedures

B.Development

Ngo, Thi Minh Huong

Topic: Chinese cinema (dramas and movies) and its popularity and affection in Vietnam

Ouyang Ling 欧阳玲

Twelve Animals of the Chinese Zodiac --Ouyang Ling

A.Origin

B.Development

C.Influence

Peng Ruihong 彭锐宏

Green Tea--Peng Ruihong (talk) 08:20, 2 November 2020 (UTC)

Diagram.

Phyo, Su Kyi

Chinese Traditional clothing Phyo Su Kyi talk 5-11-202

Pingki, Tanchangya

Chinese traditional dance--PINGKI TANCHANGYA 4 (talk) 02:46, 12 November 2020 (UTC)

Phyo, Su Kyi

Chinese Traditional clothing 1- History 2- Different types of style

Vocabulary Questions References.--Phyo Su Kyi 1 (talk) 17:37, 25 November 2020 (UTC)Phyo Su Kyi

Qu Miao 瞿淼

Taoism--Qu Miao (talk) 08:35, 19 November 2020 (UTC)

Media:Example.ogg==Rajabov, Anushervon==

International Education Exchanges and cooperation

1. Confucius Institutes 2. International Schools 3. Belt & Road Education Programs --RAJABOV ANUSHERVON 10 (talk) 08:32, 22 November 2020 (UTC)

Seydou, Sagara

My topic: The Chinese language.

1 Putonghua and Dialects

2 Ancient Chinese and Mordern Chinese

3 Idiomatic phrase -Idioms common sayings,and allegorical sayings

4 language policy.--Sagara Seydou 3 (talk) 02:24, 20 November 2020 (UTC)

Shi Haiyao 石海瑶

The Four Talented Women of Ancient China (中国古代四大才女)

A.Cai Wenji 蔡文姬

B.Zhuo Wenjun 卓文君

C.Li Qingzhao 李清照

D.Ban Zhao 班昭

---

Si Yu 司妤

Ancient Cities and Ancient Towns --Si Yu (talk) 13:27, 22 November 2020 (UTC)

1.Ancient Cities

2.Ancient Towns

3.Pingyao ancient city

Tan Yuanyuan 谭媛媛

Five famous mountains.--Tan Yuanyuan (talk) 08:00, 9 November 2020 (UTC)

1.Mount Song

2.Mount Tai

3.Mount Hua

4.Mount Heng

5.Mount Heng

Tang Bei 汤蓓

Ancient Education

1.History

2.Confucian Educational Theory

3.Chinese Imperial Examination --Tang Bei (talk) 03:04, 20 November 2020 (UTC)

Tang Yiran 汤伊然

Chinese Dining Etiquette

China has an etiquette system encompassing all its ethnic groups, each with a unique culture. Take Luoba nationality for example, before treating guests to dinner, they take a bite first to demonstrate the innocence of their food. In general, Chinese cultural etiquette has evolved largely from the Zhou (1034–221 BC) rituals related to eating.

1. Arrival

2. Seating Arrangements for a Chinese Banquet

3. Eating

4. Table Manners

5. Rules and Conventions Relating to Chopsticks

Arrival

As a guest at a meal, one should be particular about one’s appearance and determine whether to bring small gifts or good wine, according to the degree of relationship with the master of the banquet. It is important to attend and be punctual.

On arrival, one should first introduce oneself, or let the master of the banquet do the introduction if unknown to others, and then take a seat in accordance with the master of the banquet’s arrangement.

Seating Arrangements for a Chinese Banquet

Dining etiquette in ancient times was enacted according to a four-tier social strata:

1. the imperial court

2. local authorities

3. trade associations and

4. farmers and workers

The respect structure in modern dining etiquette has been simplified to:

1. master of the banquet and 2. guests.

Seat of Honor

The seat of honor, reserved for the master of the banquet or the guest with the highest status, is the one in the center facing east or facing the entrance. Those of higher position sit closer to the master of the banquet. The guests of the lowest position sit furthest from the seat of honor. When a family holds a banquet, the seat of honor is for the guest with the highest status and the head of the house takes the least prominent seat.

If the guest of honor or most senior member is not seated, other people are not allowed to be seated. If he hasn’t eaten, others should not begin to eat. When making toasts, the first toast is made from the seat of honor and continuing down the order of prominence.

Round Table

If round tables are used, the seat facing the entrance is the seat of honor. The seats on the left hand side of the seat of honor are second, fourth, sixth, etc in importance, while those on the right are third, fifth, seventh and so on in importance, until they join together.

Square Table

In ancient times there was a piece of furniture known as an Eight Immortals table, a big square table with benches for two people on each side. If there was a seat facing the entrance, then the right hand seat when facing the entrance was for the guest of honor. If there was no seat facing the entrance door (presumably if the meal was outside or there were two or more doors of equal importance), then the right hand seat when facing east was the seat of honor. The seats on the left hand side of the seat of honor were, in order of importance, second, fourth, sixth and eighth and those on the right were third, fifth and seventh.

In Grand Banquet

In a grand banquet of many tables, the table of honor is the one furthest from the entrance (or facing east in the event of no clear main entrance). The tables on the left hand side of the tables of honor are, in order of importance, second, fourth, sixth and so on, and those on the right are third, fifth and seventh. Guests are seated according to their status and degree of relationship to the master of the banquet.

Eating

When eating a meal in China, people are expected to behave in a civilized manner (according to Chinese customs), pay attention to table manners and practice good dining habits. In order to avoid offense diners should pay attention to the following points:

1) Let older people eat first, or if you hear an elder say "let's eat", you can start to eat. You should not steal a march on the elders.

2) You should pick up your bowl with your thumb on the mouth of the bowl, first finger, middle finger the third finger supporting the bottom of the bowl and palm empty. If you don’t pick up your bowl, bend over the table, and eat facing your bowl, it will be regarded as bad table manners. Moreover, it will have the consequence of compressing the stomach and restricting digestion.

Chinese Table Manners

Most table manners in China are similar to in the West. Don't be deceived by what you might see in a local restaurant on the streets. Chinese manners don't consist of slurping food down as quickly as possible, and shouting loudly!

Consider Others

1) When helping yourself to the dishes, you should take food first from the plates in front of you rather than those in the middle of the table or in front of others. It's bad manners to use your chopsticks to burrow through the food and "dig for treasure" and keep your eyes glued to the plates.

2) When finding your favorite dish, you should not gobble it up as quickly as possible or put the plate in front of yourself and proceed to eat like a horse. You should consider others at the table. If there is not much left on a plate and you want to finish it, you should consult others. If they say they don’t want any more, then you can eat proceed.

3) Concentrate on the meal and your companions. Watching television, using your phone, or carrying on some other activity while having a meal is considered a bad habit.

4) You should try to refill your bowl with rice yourself and take the initiative to fill the bowls of elders with rice and food from the dishes. If elders fill your bowl or add food to your bowl, you should express your thanks.

"Thank you" Gesture

Tea usually is served as soon as you have a seat in a restaurant. A waiter/waitress serves you tea while you read the menu and decide what to order. The teapot is left with you on the table after everyone around the table's cup is filled with tea. Guests then serve themselves. When someone pours tea into your cup, you can tap the table with your first two fingers two or three times, showing thanks to the pourer for the service and of being enough tea. The pourer will stop pouring when seeing the gesture.

Elegance

1) It is not good manners to pick up too much food at a time. You should behave elegantly. When taking food, don’t nudge or push against your neighbor. Don’t let the food splash or let soup or sauce drip onto the table.

2) When eating, you should close your mouth to chew food well before you swallow it, which is not only a requirement of etiquette, but also better for digestion. You should by no means open your mouth wide, fill it with large pieces of food and eat up greedily. Don’t put too much food into your mouth at a time to avoid leaving a gluttonous impression. Neither should you stretch your neck, open your mouth wide and extend your tongue to catch food you are lifting to your mouth.

3) When removing bones or other inedible parts of the meal from your mouth, use chopsticks or a hand to take them and put them on a side plate (or the table) in front of you, instead of spitting them directly onto the table or the ground.

4) If there is food around your mouth, use a tissue or a napkin to wipe it, instead of licking it with your tongue. When chewing food, don’t make noises.

5) It is best not to talk with others with your mouth full. Be temperate in laughing lest you spew your food or the food goes down your windpipe and causes choking. If you need to talk, you should speak little and quietly.

6) If you want to cough or sneeze, use your hand or a handkerchief to cover your mouth and turn away. If you find something unpleasant in your mouth when chewing or phlegm in the throat, you should leave the dinner table to spit it out.

Rules and Conventions Relating to Chopsticks

1) Do not stick chopsticks vertically into your food when not using them, especially not into rice, as this will make Chinese people think of funerals. At funerals, joss sticks (sticks of incense) are stuck into a pot by the rice that is put onto the ancestor altar.

2) Do not wave your chopsticks around in the air too much or play with them.

3) Do not stab or skewer food with your chopsticks.

4) Pick food up by exerting sufficient inward pressure on the chopsticks to grasp the food securely and move it smoothly to your mouth or bowl. It is considered bad form to drop food, so ensure it is gripped securely before carrying it. Holding one’s bowl close to the dish when serving oneself or close to the mouth when eating helps.

5) To separate a piece of food into two pieces, exert controlled pressure on the chopsticks while moving them apart from each other. This needs much practice.

6) Some consider it unhygienic to use the chopsticks that have been near (or in) one’s mouth to pick food from the central dishes. Serving spoons or chopsticks can be provided, and in this case you will need to remember to alternate between using the serving chopsticks to move food to your bowl and your personal chopsticks for transferring the food to your mouth.

7) Knives are traditionally seen as violent in China, and breakers of the harmony, so are not provided at the table. Some restaurants in China have forks available and all will have spoons. If you are not used to chopsticks, you can ask the restaurant staff to provide you with a fork or spoon.

Wang Meiling 王美玲

China's Three Major Home Applicance companies--Wang Meiling (talk) 08:33, 19 November 2020 (UTC)

1.Midea

2.Gree

3.Haier

Wang Xuan 王轩

National Flag of the People’s Republic of China

Wu Qiong 吴琼

China‘s Four New Inventions--WuQiong (talk) 03:24, 3 November 2020 (UTC)

1. High-speed rail

2. Scanning code payment

3. Sharing bikes

4. Online shopping

Wu Yilu 吴一露

A.Huawei

Of all the Chinese phone manufacturers, Huawei is probably the name that needs no introduction. It's the world's second largest smartphone company, and it's at the center of an international battle for technological dominance between Beijing and Washington. 

Founded in 1987, Huawei is a leading global provider of information and communications technology (ICT) infrastructure and smart devices. It has more than 194,000 employees, and operate in more than 170 countries and regions, serving more than three billion people around the world. Huawei is a private company wholly owned by its employees. No government agency or outside organization holds shares in Huawei.

Their vision and mission is to bring digital to every person, home and organization for a fully connected, intelligent world. The benefits of digital technology shouldn't just be available to those who can afford it. Huawei's mission is to expand the benefits of technology to everyone, everywhere. To achieve this, they've developed a digital inclusion strategy that focuses on three areas: technology, applications, and skills. For example, three main world-changing technologies built by Huawei are 5G, Huawei cloud and Huawei AI.

Huawei is continuing to focus on research and innovation to seize the opportunities and address the challenges of the future intelligent world.  There are many innovations and inventions of Huawei to drive the industry forward, including advanced wireless networks, optical networks, intelligent O&M, AI computing, smartphone camera, media CODEC standards, software, trustworthiness and so on. Today, Huawei have entered the 5G ear and embarked on 6G research. It is exploring new directions for 6G. To this end, they began research into the basic theories of 6G and initiated extensive open collaboration projects with other industry players and pushed the industry to build a consensus on 6G.

 "Staying customer-centric and creating value for customers" are the company's common values. The company has a well-developed internal governance structure, under which all governance bodies have clear and focused authority and responsibility, but operate under checks and balances. This creates a closed cycle of authority and achieves rational and cyclical succession of authority, so as to drive the facilitation and implementation of the company's common values.

Diagram of Huawei Corporate Governance. Click Governance Structure.jpg for original source.

Once virtually unknown to most Americans, the telecommunications giant was splashed across newspapers when top executive (and daughter of the company's founder) Meng Wangzhou was arrested in Canada for an alleged violation of US sanctions with Iran. Since then, the Chinese telecom has regularly made international headlines, especially since the US Commerce Department banned American companies from doing business with Huawei without first obtaining a license.  For Huawei, that meant it could lose access to crucial technological parts including semiconductors, which are key components used in its base stations and phones. It also meant Huawei's handsets were cut off from the full power of Google's Android operating system, along with several popular apps including the Google Play store, Gmail, Google Maps and apps that rely on Google like Uber and eBay. At its launch in September, the Mate 30 was Huawei's first major phone to launch without Google's proprietary apps. Despite US efforts to constrain Huawei, the company reported first-half earnings this month showing revenue grew more than 13% from a year ago to around $65 billion.

Terms and Expression

Huawei cloud 华为云 Intelligent Collaboration 协同管理技术

optical networks 光纤网络 Carrier Network 承载网络

intelligent O&M 智能委托运营 the Kunpeng 920 鲲鹏920

AI computing 人工智能计算 AppGallery  华为应用程序库

information and communications technology (ICT) 信息与通讯技术 Media CODEC standards 编解码标准

Questions:

1.When is Huawei founded?

2.How many countries and regions does Huawei operate?

3.Do government agency and outside organization hold shares if Huawei?

4.What is the vision and mission of Huawei? And what do they do to achieve this mission?

5.What are the three main world-changing technologies built by Huawei?

6.What are the innovations and inventions of Huawei?

7.What are the company’s common values?

8.What makes that the telecommunications giant frequently was mentioned across newspapers?

9.Which phone is the first major phone launched without Google’s proprietary apps?

10. What’s your opinion towards these two issues mention above? Will these hinder the development of Huawei?

C. Vivo & OPPO

--Wu Yilu (talk) 07:24, 27 November 2020 (UTC)

Wu Zijia 吴子佳

Chinese Dialects方言

1.Cantonese

2.Hunan dialect --Wu Zijia (talk) 08:23, 9 November 2020 (UTC)Wu Zijia

Xiao Shuangling 肖双玲

A. Brief Introduction

March of the Volunteers is a song composed by Tian Han and Nie Er. It is the theme song of the film Children of Troubled Times, known as the clarion call of the Liberation of the Chinese nation. Since its birth in 1935 at the critical moment of national crisis, it has played a great role in inspiring the patriotic spirit of the Chinese people, and later became the National Anthem of the People’s Republic of China.

On May 9, 1935, the first version of the song was recorded in the recording studio of EMI Records. In 1951, in order to meet the needs of playing the national anthem, the People's Record Factory recorded and published a rough record composed of a brass ensemble and an orchestral ensemble. In 1959, to celebrate the 10th anniversary of the founding of the People’s Republic of China, the China Record Factory recorded and published a full set of standard national anthem special records. In 1978, a special album for collective lyrics was released. In 1983, China Record Shanghai Company recorded and published a special record for the standard national anthem after the original word was restored.

B. Creation Background

March of the Volunteers is the theme song of the film Children of Troubled Times. In the autumn of 1934, Tian Han wrote a long poem for the film, the last verse of which was selected as the lyrics of the theme song March of the Volunteers. Shortly after the lyrics were written, Tian Han was arrested and imprisoned by the Kuomintang authorities. In February 1935, director Xu Xingzhi took over the shooting of Children of Troubled Times. Soon after, comrades who went to prison to visit brought back the lyrics written by Tian Han in prison on the back of cigarette packing paper, that is, the original manuscript of March of the Volunteers. At that time, Nie Er was preparing to go to Japan to seek refuge. He learned that there was a theme song to write in the film children of the wind and cloud. He took the initiative to compose music for the song and promised to send back the song manuscript as soon as possible after he arrived in Japan.

Nie Er completed the first draft of the score soon after receiving the lyrics. On April 18, 1935, after Nie Er arrived in Tokyo, Japan, he completed the final draft of the score, and sent the final draft to Shanghai Dentsu Film Company at the end of April. Afterwards, in order to make the song tune and rhythm more powerful, Nie Er and Sun Shiyi discussed and made three changes to the lyrics, thus completing the song creation.

After the early shooting of the film Children of Troubled Times was completed, the lyrics of Tian Han's theme song did not determine the name of the song, while Nie Er's lyric composition sent back from Japan only included the word "March". General Zhu Qinglan, as the investor of the film Children of Troubled Times, added "Volunteers" after the words of "March", thus naming the song March of the Volunteers.

C. Song Appreciation

The March of the Volunteers is a very creative song; the composer Nie Er devotes himself to the creation of this song with great passion. First of all, he succeeds in handling the poetic lyrics of Tian Han’s prose in accordance with the laws of music in an extremely vivid, powerful and colloquial way. In terms of melody creation, he not only absorbs the excellent achievements of international revolutionary songs and the style characteristics of Western European march, but also makes it have strong national characteristics, so that the song could be grasped by the broad masses and play its fighting role.

The song begins as a prelude to a six-bar march. It has a sonorous rhythm, bright and majestic melody, among which the magical effect of triplet enhances the fighting atmosphere of the song. Although the prelude is short, it contains the basis for the emotional and melody development of the entire song. The songs are interlocked and advanced layer by layer. This process runs through the whole song, and the end of the song is repeated many times, giving people a sense of unwavering and unstoppable.

According to the characteristics of the lyrics clause, Nie Er treated the song into a free body structure formed by six phrases of varying lengths. Although the melody and structure of each phrase are different, the cohesion between the phrase and the phrase is close, the development is natural, and the singing is ups and downs, and is integrated.

March of the Volunteers, with its soaring, sonorous and powerful melody and inspiring lyrics, expresses the Chinese people's strong resentment and resistance to imperialist aggression, and embodies the heroic spirit of the great Chinese nation in the face of foreign aggression that is brave, strong, united as one to go through national disaster.

D. Chinese and English Lyrics

起来！不愿做奴隶的人们！

把我们的血肉，筑成我们新的长城！

中华民族到了最危险的时候，

每个人被迫着发出最后的吼声。

起来！起来！起来！

我们万众一心，

冒着敌人的炮火,

前进！

冒着敌人的炮火，

前进！

前进！前进、进！

Arise, you who refuse to be bond slaves!

Let’s stand up and fight for

Liberty and true democracy.

All our world is facing

The chains of the tyrants.

Everyone who works for freedom is now crying:

Arise! Arise! Arise!

With the torch of freedom,

March on!

With the torch of freedom,

March on!

March on! March on, and on!

Xiao Ting 肖婷

Zheng He’s Voyages

From 1405 until 1433, the Chinese imperial eunuch Zheng He led seven ocean expeditions for the Ming emperor which is an unprecedented feat in world history. Zheng He Zheng He was born Ma He to a Muslim family in the far southwest, in today's Yunnan province. It is said that his original surname is Ma,his full name as Ma Sanbao .At ten years old he was captured by soldiers sent there by the first Ming emperor intent on subduing the south. He was sent to the capital to be trained in military ways. Growing up to be a burly, imposing man, over six feet tall with a chest contemporaries said measured over five feet around, he was also extremely talented and intelligent. He received both literary and military training, then made his way up the military ladder with ease, making important allies at court in the process. Besides Zheng He has a background of both Buddhism and lslam.Thus,he was assumed as the perfect choice to lead the emperor’s splendid armada. Reasons for the voyages The Yongle Emperor sent Zheng He to the “Western oceans”, both to demonstrate the might of the Ming Empire and to realize the diplomatic ideal of peace and harmony among all nations. Zheng He's fleet showed the prosperity ，the imperial power and its advanced navigation technology and exquisite ship-building techniques of China at that time , thus many small countries and bribes agreed to recognize China as their superior and its emperor as lord of “all under Heaven”.These countries and bribes regularly gave gifts of tribute in exchange for certain benefits ,like military posts and treaties. Zheng He's fleet did not act as a sea ruler, it appeared in peace all over the world, laden not only with goods exchanged with those countries, but also with the friendship of peoples.

The seven expeditions These expeditions were astonishing as much for their distance as for their size: during the first ones, Zheng He traveled all the way from China to Southeast Asia and then on to India, all the way to major trading sites on India's southwest coast.The first expedition of this mighty armada was in 11th July of 1405, composed of 317ships and perhaps as many as sixty huge Treasure Ships and nearly 28000men with thousands of soldiers , sailors ,diplomatic specialists ,medical personnel, astronomers and scholars.The fleet stopped in Java and then arrived at Ceylon (today’s Sri Lanka ). Compared to the first one, the second voyage(1407-1409) was smaller with only 68ships sending foreign envoys back home.

The fourth voyage (1413-15) extended the scope of the expeditions even further. This time in addition to visiting many of the same sites, Zheng He commandeered his 40 ships and over 28,000 men to Hormuz on the Persian Gulf. This trip has 48 ships with doctors , officials ,translators and more than 27000 troops . The fifth voyage (1417-1419) was primarily a return trip for seventeen heads of state from South Asia. They had made their way to China after Zheng He's visits to their homelands in order to present their tribute at the Ming Court. The sixth voyage began in 1421 and lasted for nearly two years.Then the expeditions were halted due to the death of the Yongle emperor. sailed to many of the previously visited Southeast Asian and Indian courts and stops in the Persian Gulf, the Red Sea, and the coast of Africa, principally in order to return nineteen ambassadors to their homelands. Zheng He returned to China after less than a year, having sent his fleet onward to pursue several separate itineraries, with some ships going perhaps as far south as Sofala in present day Mozambique. The seventh and final voyage (1431-33) was sent out by the Yongle emperor's successor, his grandson the Xuande emperor.It was on this return trip that Zheng He died.This expedition had more than one hundred large ships and over 27,000 men, and it visited all the important ports in the South China Sea and Indian Ocean as well as Aden and Hormuz. One auxiliary voyage traveled up the Red Sea to Jidda, only a few hundred miles from the holy cities of Mecca and Medina. It was on the return trip in 1433 that Zheng He died and was buried at sea, although his official grave still stands in Nanjing, China. Nearly forgotten in China until recently, he was immortalized among Chinese communities abroad, particularly in Southeast Asia where to this day he is celebrated and revered as a god.

Xu Jia 徐佳

Four Folk Stories of China 中国民间四大传说--Xu Jia (talk) 09:03, 8 November 2020 (UTC)Xu Jia

Xu Jing 许静

Four Great Pavilions--Xu Jing (talk) 06:21, 9 November 2020 (UTC)

Yang Chenting 杨晨婷

Chinese 4 great towers A. origin B. development --Yang chenting (talk) 08:17, 2 November 2020 (UTC)Yang Chenting

Yang Hairong 杨海容

Nanjing, An Ancient Capital of Six Dynasties--Yang Hairong (talk) 08:28, 2 November 2020 (UTC)

Yang Hui 阳慧

The Five Constant Virtues A Benevolence

B Righteousness

C Propriety

D Wisdom

F Fidelity

Yang Yue 杨悦

Cheongsam--Yang Yue (talk) 13:16, 2 November 2020 (UTC)

Yang Ziling 杨子泠

Stinky Tofu

Yi Zichu 义子楚

Panda--Yi Zichu (talk) 14:26, 2 November 2020 (UTC)

You Yuting 游雨婷

Legalism--You Yuting (talk) 08:29, 18 November 2020 (UTC)

1.Representative figures

2.Values

3.Works

References

Vocabulary List

Questions

Yu Ni 余妮

Four Ancient Chinese Academies 中国古代四大书院 --Yu Ni (talk) 02:18, 21 November 2020 (UTC)

Yuan Tianyi 袁天翼

Milk Tea--Yuan Tianyi (talk) 14:42, 2 November 2020 (UTC)

Zeng Liang 曾良

Qingming Riverside Landscape Garden

Zeng Xinyuan 曾心媛

Batik History

Types

Technical Process

Materials

Patterns --Zeng Xinyuan (talk) 08:38, 10 November 2020 (UTC)

Zhang Hui 张慧

Ancient Chinese weapons中国古代兵器--Zhang Hui (talk) 08:04, 9 November 2020 (UTC)

Zhang Ling 张玲

Terra-Cotta Warriors --Zhang Ling (talk) 02:32, 3 November 2020 (UTC)

Zhang Peiwen 张佩闻

bonsai 盆景

Zhang Weihong 张维虹

TikTok（抖音） --Zhang Weihong (talk) 08:31, 21 November 2020 (UTC)Zhang Weihong

Zhang Yinliu 张银柳

San Mao -三毛 OR Four Buddhist Shrines - 佛教四大名山

Zhang Yu 张瑜

A.The Four Great Inventions

The Four Great Inventions, as symbols of ancient China's advanced science and technology, are inventions that are celebrated in Chinese culture for their historical significance. They include papermaking, compass, gunpowder and printing.

1. Papermaking

Papermaking has traditionally been traced to China about AD 105, when Cai Lun, an official attached to the Imperial court during the Han Dynasty (202 BC-AD 220), created a sheet of paper using mulberry and other bast fibres along with fishnets, old rags, and hemp waste. However, a recent archaeological discovery has been reported from Gansu of paper with Chinese characters on it dating to 8 BC. The invention of papermaking technology is one of the most outstanding contributions made by the Chinese people to the world civilization. It is not only a revolution in writing materials, but also a perquisite for the subsequent invention of typography. (Fan 2015, 161)

2. Compass

A lodestone compass was used in China during the Han Dynasty between the 2nd century BCE and 1st century CE, where it was called the "south-governor"(Si Nan).

Diagram of a Ming dynasty mariner's compass, Public Domain license by Wikimedia. Click [1] for original source.

3. Gunpowder

Gunpowder was invented in the 9th century by Chinese alchemists searching for an elixir of immortality. By the time the Song Dynasty treatise, Wujing Zongyao, was written by Zeng Gongliang and Yang Weide in 1044, the various Chinese formulas for gunpowder held levels of nitrate in the range of 27% to 50%.

4. Printing

Printing in Northern China was further advanced by the 11th century, as it was written by the Song Dynasty scientist and statesman Shen Kuo (1031–1095) that the common artisan Bi Sheng (990-1051) invented ceramic movable type printing.

References

• Fan, Jialu, Han, Qi, Wang, Zhaochun, Dai, Nianzu. "The four great inventions." A History of Chinese Science and Technology. Springer, Berlin, Heidelberg, 2015. 161-299
• Andrade, Tonio, ed. (2016). The Gunpowder Age: China, Military Innovation, and the Rise of the West in World History. Princeton: Princeton University Press.
• Boruchoff, David A. (2012), "The Three Greatest Inventions of Modern Times: An Idea and Its Public", in Hock, Klaus, Gesa; Mackenthun (eds.), Entangled Knowledge: Scientific Discourses and Cultural Difference, Münster: Waxmann, pp. 133–163, ISBN 978-3-8309-2729-7
• Buchanan, Brenda J., ed. (2006). Gunpowder, Explosives and the State: A Technological History. Aldershot: Ashgate. ISBN 0-7546-5259-9.
• Deng Yinke (2005). Ancient Chinese Inventions. Translated by Wang Pingxing. Beijing: China Intercontinental Press. ISBN 7-5085-0837-8.
• Li Shu-hua (1954). "Origine de la Boussole 11. Aimant et Boussole". Isis. Vol. 45 no. 2: July. Oxford. pp. 175–196.
• Needham, Joseph (1962). Physics and Physical Technology, Part 1, Physics. Science and Civilisation in China. Volume 4. Cambridge, England: Cambridge University Press.
• Needham, Joseph, ed. (1985). Chemistry and Chemical Technology, Part 1, Tsien Hsuen-Hsuin, Paper and Printing. Science and Civilisation in China. Volume 5. Cambridge: Cambridge University Press.
• Needham, Joseph, ed. (1994). Chemistry and Chemical Technology, Part 7, Robin D.S. Yates, Krzysztof Gawlikowski, Edward McEwen, Wang Ling (collaborators) Military Technology; the Gunpowder Epic. Science and Civilisation in China. Volume 5. Cambridge: Cambridge University Press.
• "World Archaeological Congress eNewsletter 11 August 2006" (PDF). [2]

Vocabulary List

• The Four Great Inventions 四大发明

Questions

• When was paper invented? (8 BCE)

Zhang Yujie 张毓婕

Strange Stories from a Chinese Studio

Zhao Xi 赵茜

Four Treasures of the Study 文房四宝

Zhao Xiaoyan 赵晓燕

Chinese Fairy Tales

Zhou Yiwen 周艺文

Questions

--Zhou Yiwen (talk) 11:42, 9 November 2020 (UTC)

Zhou Yuanqu 周园曲

中国古代选官制度--Zhou Yuanqu (talk) 12:55, 27 November 2020 (UTC)

Zhu Meimei 祝美梅

Ancient Chinese Doors and Windows

In the early age of human existence, the purpose for the construction of buildings was quite clear: to ensure security and ward off the cold. When doors and windows first came into existence, they only had the primary function of ventilation and lighting. Nowadays, the Chinese character for “window” is 窗（chuang），but in ancient times, its was written as 囱（cong），which, both in meaning and pronunciation is the same as the character for “chimney”. This clearly shows that, in ancient times, windows were used for ventilation, at least they were used more for ventilation than for lighting. The traditional Chinese character for “door” is 門（men），composed of two door leaves (hu, 户), originally meaning a door with two leaves. Thus, a door with two door leaves was called a men, and door with one leaf was known as a hu, 牖（you），which is seldom used now, meant a window in the wall, whereas cong was a window in the roof. It is important to acquire this basic knowledge for our understanding of the evolution of doors and windows.

Although no buildings prior to the Qin dynasty have survived, we can imagine how simple they were. Huainanzi. On Mountains contains an illuminative depiction: “When light comes from a crack, a corner is illuminated; when light comes from a window in the wall, the north wall is illuminated; when light comes from the door, all the room is illuminated.” It further comments: “With ten windows fully open, the room is not as bright as when a door is open.” These remarks provide us with plenty of useful information.

First, we know that at that time houses were constructed to face the south, and the direction of doors and windows were consistent with the architectural tradition which lasted thousands of years. Secondly, windows were quite small, to the extent that the area of ten windows was not as big as that of a door. Doors and windows at this time only had basic functions. We can assume that no decoration was applied, and that there were even no window rods. Windows with vertical rods appeared in the Han dynasty, which can only be seen in excavated funeral objects. As elaborate funerals were in fashion in the Han dynasty, construction models as funeral objects have occasionally been unearthed from Han tombs. On these objects ancient doors and windows can be identified. During Han times, paper was not used to cover windows. Although papermaking was invented in the Western Han (206BC-25AD), it was not until hundreds of years later that paper was installed in windows. Historic Records of Later Han (Houhanshu), Biography of Liang Ji describes: “All the windows are covered qi and green suo.” Qi is a kind of fabric that can ward off wind and allow light to enter. Great progress was made in architecture when windows with vertical rods came into existence. First of all, it made it possible to enlarge a window. If windows were not covered, the function of a house to ward off wind and cold would be diminished; if windows were too big, it would be difficult to close and block them up. Windows with vertical rods solved these problems perfectly. In addition, as fabric manufacturing in the Han dynasty was quite developed, windows covered with fabrics were both practical and good-looking.

Windows with vertical rods began to be commonly adopted in Wei adn Jin times. During this period there was a row of windows with vertical rods installed in the enclosed walls of many private residences. In the competition among literati in garden building, the function of doors and windows became sophisticated. Installed between natural scenes and houses, they acted as partitions. Xie Lingyun (385-433), a famous poet and follower of Buddhism, wrote a beautiful couplet in his On the Mountain Cottage, “Ranges of mountains are invited into the door, and mirror-like quiescent water is displayed in front of the window.” To exhibit natural scenes through doors and windows added to the aesthetic function of doors and windows. During the period from the Sui and Tang dynasties to the Song dynasty, doors and windows in constructions gradually matured. From the drawings in the Building Standards, we can see diversified lattice patterns and elaborate carvings in waist panels, showing that a variety of decorative means for doors and windows were in place at that time. However, the style of lattice doors was comparatively simple, with only two types: single-waist-bar type and double-waist-bar type. The “waist bar” was a transversal wood bar inset in the part. Compared with a plank door, this kind of lattice door was better for lighting, more attractive in appearance, and lighter in weight.

In the Song dynasty, windows with vertical rods remained prevalent, while windows with traceries or scroll work were occasionally installed. There were two kinds of lattices used in windows: flat lattice and cuspate lattice.. The cross section of a flat lattice strip was rectangular or square; whereas the cross section of a cuspate lattice strip was a triangle, with an angle pointing outwards and the bottom pointing inwards, so that the indoor side of the lattice could be pasted with paper or fabrics. During the evolutionary development of classical doors, between plank doors and lattice doors there was another kind of door called a “soft door”. A soft door was a frame structure, with a waist bar in the middle, and panels were inset in grooves above and below the bar. The advantage of a soft door was that it was light in weight and resistant to deformation. The soft door is considered to be the predecessor of the lattice door.

Lattice doors in Song times were wide and low, while in the Ming and Qing such doors (renamed “partition doors) became narrower and higher. Two reasons were attributable to such changes. First, horizontal upper windows were seldom installed on top of partition doors in the Ming and Qing. Second, very often in Ming and Qing constructions, partition formed much of the facade of a house, and an increase in the number of such doors could create a more rhythmic effect, which would also make it easier to evenly distribute the doors.

Innumerable doors and windows of the Ming and Qing, either from official buildings or from private residences, have survived today, including all kinds of exquisitely made partition doors and still windows. All the doors and windows illustrated in this book are products of the Ming and Qing dynasties. As the area south of the Yangtze River was prosperous and rich, and possessed a very talented society, doors and windows from this area are especially representative of the talents and adeptness of craftsmen in older times.--Zhumeimei (talk) 01:05, 23 November 2020 (UTC)

Zhu Xu 朱旭

Yuelu Academy--Zhu Xu (talk) 02:29, 5 November 2020 (UTC)

Zou Xinyu 邹鑫雨

Chinese Paper Currency--Zou Xinyu2 (talk) 07:51, 11 November 2020 (UTC)Zou Xinyu

1.Jiaozi(A Paper Currency in Northern Song Dynasty)

2.Huizi(A Paper Currency in Southern Song Dynasty）

3.The Paper Currency in Qing Dynasty

4.The Paper Currency in the Chinese Soviet Area Period

5.Renminbi

References

Vocabulary List

Questions

Zubareva, Ekaterina

Chinese traditional make up--ZubarevaEkaterina (talk) 15:02, 14 November 2020 (UTC)

I.Base make up

II.Color make up

III.Tang dynasty make up

References

Vocabulary List

Questions