20201215 cultexam 4

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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). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
• In the topic, please write the category, then the topic - your name and student no.
• For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
• Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). 翻译基础 [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.
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Architecture, Bridges - Yu Ni 余妮 英语笔译 202070080620

Four Famous Bridges in China—中国四大名桥

--Yu Ni (talk) 03:16, 1 December 2020 (UTC)

Introduction

China is the hometown of bridges, which has been called "the country of bridges". It was developed in the Sui Dynasty and flourished in the Song Dynasty. The bridges were woven into a traffic network extending in all directions, connecting the motherland in all directions. The architectural arts of ancient Chinese bridges are pioneering works in the history of bridges, which fully demonstrates the extraordinary wisdom of the ancient Chinese. "Guangji Bridge in Chaozhou city, Zhaozhou Bridge in Hebei province, Luoyang Bridge in Quanzhou city and Lugou Bridge in Beijing are known as the four ancient bridges in China"

Zhaozhou Bridge

Zhaozhou Bridge, also known as Anji Bridge, is the oldest long-span stone arch bridge in China. The bridge was built on the Xiaohe River, Hebei Province. From a distance, it looks like a bright moon in the clouds and a rainbow after rain hanging in the sky, beautiful and spectacular. It was built by Li Chun, a famous craftsman in the Sui Dynasty. With a length of 64.40 meters and a span of 37.02 meters, it is the largest span and the earliest single-span stone arch bridge with open shoulder in the world. (Shen Kun, 2016）

Li Chun creatively used the flat arch style, so that the stone arch height was reduced to 7.23 meters, and the ratio of arch height to span was about 1:5. In this way, the slope of the bridge deck is gentle, which is convenient for vehicles, horses and pedestrians. Moreover, it has the advantages of saving materials, fast construction, and increasing the strength and stability of the bridge. Zhaozhou Bridge has been there 1400 years ago. It has experienced 10 times floods, 8 times wars and many earthquakes, but it has not been damaged. (Shen Kun, 2016）

Mao Yisheng, a famous expert in bridges, said that regardless of the internal structure of the bridge, surviving for over 1300 years explains everything. According to records, Zhaozhou Bridge has been repaired eight times since its completion. Two small arches are added at both ends of the main arch, one is to save materials, the other is to reduce the weight of the bridge body, and to increase the discharge of the river. In order to protect Zhaozhou Bridge, at the end of last century, the new bridge built 100 meters away from Zhaozhou Bridge still follows its style. (Shen Kun, 2016）

In order to increase the flood discharge capacity, Li Chun also showed ingenuity by setting two small arches on each shoulder of the large arch. It can not only save stone and reduce the weight of the bridge body, but also help to discharge the flood, so as to achieve the perfect unity of architecture and art. It has become a great achievement of bridge engineering technology in China, which is more than 1200 years earlier than the similar arch bridge built in Europe in the middle of 19th century. (Shen Kun, 2016）

Luoyang Bridge

Quanzhou is a famous city with a history of over 1700 years. As early as the Tang and Song Dynasties, Quanzhou was known as an important trading port. Merchants, scholars and missionaries from all over the world came to Quanzhou, leaving many precious historical and religious relics and classical buildings. Luoyang Bridge, also known as “Wanan bridge”, was built by the governor Cai Xiang in the Northern Song Dynasty and completed in six years. It is difficult to build a bridge at the confluence of the river and the sea, the river is wide and deep, and the project is arduous. (Wei lichun, 2007)

The bridge is 834 meters at length and 7 meters at width. There are Zhaohui temple and Zhenshen temple in the north of the bridge, and Caixiang temple in the south of the bridge. In 1988, it was listed as one of the national key cultural protection units and one of Quanzhou’s world cultural heritage sites. (Wei lichun, 2007)

It was very difficult to build Luoyang Bridge at first. Because the river is wide and the current is swift, sometimes there is wind tide, the water potential is dangerous. Before the construction of the bridge, people came and went by ferries, which often capsized. In order to pray for the safety of the transition, the ferry here was named Wanan Du, so the bridge was also named Wanan Bridge after its completion. Therefore, it was also named Luoyang Bridge because it was built on the Luoyang River. (Wei lichun, 2007)

There are many innovations in the construction technology and technology of Luoyang bridge, the raft foundation style, the application and development of wedge pier and the use of oyster to cement bridge pier. After its completion, it has become an important channel of communication between Quanzhou and the mainland. Therefore, Luoyang Bridge has the reputation of “Wan An Ji Zhong”. Under the influence of the completion of Luoyang Bridge, there has been an upsurge of bridge construction in Fujian province, especially in Southern Fujian. Dozens of large and medium-sized stone girder bridges have been built.（Wei lichun, 2007)

Lugou Bridge

Lugou Bridge is the oldest stone multi-hole arch bridge in Beijing, which has a history of more than 800 years. In the Jin Dynasty, Lugou river was an important transportation point from north to south. There are 11 bridge holes in the whole bridge, and the span and height of each hole are not the same. As early as the Jin Dynasty, this bridge was listed as one of the “Eight Sights of the capital”.(Shen Kun, 2016）

The bridge deck of Lugou Bridge is slightly curved with lower ends and uplift in the middle. The lower riverbed of the bridge is paved with pebbles and quartz sand. The whole bridge is built on it, which is very solid and stable. The two ends of the bridge are used as drum-shaped stone block. At the east end are two big stone lions and the west are two big stone elephants which are huge and charming. In addition to the stone lion and stone statue on the top of the fence, there is a 4.65-meter-high ornamental table, which looks like seeing off pedestrians.(Shen Kun, 2016）

As the oldest stone arch bridge in Beijing and the place where the whole nation’s Anti-Japanese war broke out, Lugou bridge is not only an important cultural resource in Fengtai District, but also a memorial place for major national activities. Bearing rich historical resources, it has become important to publicize the revolutionary tradition of the Chinese nation and carry out patriotic education. Standing on the Lugou Bridge, you can see the memorial hall of the Chinese people’s Anti-Japanese War, the Yongdinghe River ferry wharf, the pinghan railway bridge site, and the Anti-Japanese War sculpture garden, which together constitute a spectacular historical and cultural map.(Shen Kun, 2016）

Guangji Bridge

Guangji Bridge is located at the east gate of the ancient city of Chaozhou, Guangdong Province. Commonly known as Xiangzi bridge. Crossing the vast Hanjiang River, it is an important transportation hub of Fujian and Guangdong. With its unique style of “18 shuttle boats and 24 continents”, it is praised as “the earliest open-close bridge in the world” by famous bridge expert Mao Yisheng. In particular, on the stone tablet of the imperial stele Pavilion at the east end of the bridge, the inscription “Lugou Xiaoyue” written by Emperor Qianlong is the most famous. (Wei lichun,2007)

Stone lions and stone pavilions at both ends of the bridge, together with Chinese totem pillar, constitute the bridgehead buildings with national characteristics. Marco Polo, an Italian at the end of the 13th century, praised Lugou Bridge as “a beautiful stone bridge in Hanbali”. It is the oldest existing large-scale double-arch long bridge in northern China. “Lugou Xiaoyue” is also one of the famous “Eight Sights of Yanjing”.(Wei lichun,2007)

There are many folklores about Guangji Bridge. One of the legends is “the immortal Buddha builds the bridge”. That is, after Han Yu came to Chaozhou in the Tang Dynasty, to communicate with the two sides, he asked his nephew Han Xiangzi and other eight immortals to build a bridge with Guangji monk. Due to the failure of his magic power, the middle section could not be connected. Monk Guangji and He Xiangu, one of the eight immortals, were connected with 18 shuttle boats by using lotus flowers as giant cables. Therefore, the bridges were called “Xiangzi bridge” and “Guangji Bridge” respectively. (Wei lichun,2007)

The second legend is that Wang Yuan removed the strange stones. Wang Yuan was the magistrate of Chaozhou who presided over the large-scale bridge repair. He built “24 towers” on the bridge, which was known as “the first bridge in the south of the Yangtze River”. It was said that there were two strange stones on Hulushan mountain, which caused frequent fires and lawsuits in Chaocheng. So, he personally led people up the mountain, leading in smashing down two strange stones. Wang Yuan’s move not only dispelled people’s fear of strange stones, but also solved part of the stone for bridge repair.(Wei lichun,2007)

The third legend is “Wu Fu Gong Ji Shui”. The Duke of Wu was the governor of Chaozhou in of Qing Dynasty. One year, because of the flood of Hanjiang River, Chaozhou City was in danger. He offered sacrifices to the water on the east gate and begged for the water to retreat. However, the water did not retreat. So, he indicated that he would live and die with the city. Strange to say, the flood receded at this time. Since then, people have set up his statue sacrifice in the east gate tower, and built a memorial archway in the East Bridge of Xiangzi bridge.(Wei lichun,2007)

Many of China’s ancient and modern bridge science and technology have been in the forefront of the world’s bridge construction, and many bridge styles continue to have an impact on the world’s modern bridge construction. At the same time, it is a living treasure of cultural relics, recording a lot of precious information.(Wei lichun,2007)

References

Shen Kun 沈坤. (2016). 中国古代四大名桥[Four famous bridges in ancient China].百姓生活People's life (07) 59-62.

Wei Wei薇薇. (2016).中国人必须知道的国学常识[The common knowledge of Chinese culture that Chinese people must know].雷锋 Lei Feng (Z1) 148-149.

Wei Lichun魏丽春. (2007).我国的四大名桥[Four famous bridges in China].新长征New Long March (08) 60.

Huang Jun黄军. (1996).我国风景名胜中的四大[Four famous scenic spots in China].农家之友 Friends of farmers (03) 46.

Terms and expressions

石拱桥 stone arch bridge

望柱 baluster

桥基 settlement

泄洪 flood discharging

桥墩 pier

抱鼓石 drum-shaped stone block

华表Chinese totem pillar

栏杆 balustrade

燕京八景 Eight Sights of Yanjin

启闭式桥梁 open-close bridge

Questions

1.Which is is the oldest long-span stone arch bridge in China?

2.How many folklores are there about Guangji Bridge and what are they?

3.How long has Zhaozhou Bridge been there ?

4.Why did Li Chun use the flat arch style to build Zhaozhou Bridge?

Answers

1. Zhaozhou Bridge, also known as Anji Bridge.

2.Three. They are “the immortal Buddha builds the bridge”, “Wang Yuan removed the strange stones” and “Wu Fu Gong Ji Shui”.

3. Zhaozhou Bridge has been there for 1400 years.

4. To make the slope of the bridge deck gentle, which is convenient for vehicles, horses and pedestrians.--Yu Ni (talk) 03:09, 21 December 2020 (UTC)

Yuan Tianyi 袁天翼

Milk Tea

We live in a modern world with countless yummy food where youngsters can’t live without milk tea. There is even one popular cyber saying that goes like this:”Youngsters continue their lives by drinking milk tea.” Milk tea, popular throughout the whole country, even the world, originated from bubble tea of Taiwan. Currently, we have entered “Milk Tea 4.0 Era”. Such an era has endowed milk tea with a brand-new meaning, becoming a cultural symbol pf modern civilization human life, especially youngsters’ lives, namely, a pursuit of identity recognition for youngsters.（Li Xintong 2020，14） So, is milk tea really so miraculous? Is it really so tasty? We may as well discuss the past and current situations of milk tea!

Living in a modern world with countless yummy food, youngsters have a special obsession for milk tea. There is even a popular saying that goes like this online:”Youngsters sustain their lives by milk tea.”--Zhumeimei (talk) 05:36, 17 December 2020 (UTC)

Milk tea, popular everywhere in our nation and the rest of the world, originated from bubble tea of Taiwan. Currently, we have entered into “Milk Tea 4.0 Era”. Such an era has endowed milk tea with a brand-new meaning, becoming a cultural symbol of modern civilized human life, namely, a pursuit of identity recognition for the youths.（Li Xintong 2020，14）--Zhumeimei (talk) 05:36, 17 December 2020 (UTC)

So, is milk tea really so miraculous? Is it really so tasty? We may as well have a discussion of its past and current stories !--Zhumeimei (talk) 05:36, 17 December 2020 (UTC)

A.The Origin of Milk Tea

Each school holds its own opinion about the origin, but in fact, if we carefully analyse the fact, we can easily find its true origin, that is---”Mongolia Milk Tea” drunk by nomadic tribes in Mongolia Plateau. Till now, the nomadic tribes living in Inner Mongolia Autonomous Region of PRC still treat visitors with milk tea, which is an unshakable traditional custom.

Each school holds different opinions about the origin, but in fact, after a careful analysis, we can easily find its origin can be traced back as far as to "Mongolia Milk Tea” drunk by nomadic tribes in Mongolia Plateau. Till now, the nomadic tribes living in Inner Mongolia Autonomous Region of PRC still serve their honored visitors with milk tea, which has become an unshakable traditional custom.--Zhumeimei (talk) 05:49, 17 December 2020 (UTC)

B.The Development of Milk Tea

Due to the rampant global expansion of British colonists, lots of oriental local products, including milk tea of China, were also transported to the occidental world. Later, it was improved and developed in Britain. Since the introduction of milk tea into Britain, due to the distinction of climate and dietary habits, British gave up the utilization of spice, but mixed sundry kinds of tea to replace spice to make milk tea, and added maple sugar as condiment, thus giving birth to the rudiment of modern milk tea and its basic ingredients.（《世界著名奶茶大全》 厨影美食） Later, Taiwan introduced milk tea. In the spring of 1987, manager of a Taiwanese cold drink department---Ms. Lin Xiuhui of "Chunshuitang" , added local snack flour into milk tea, and after her successful promotion to consumers, Lin and her colleagues Shen Tonge, Lin Lingru and Wang Yufeng, were inspired by cooked flour whose shape is similar to black pearl, thus creating the name “Pearl Milk Tea”(Bubble tea, currently). Henceforth, the name full of aesthetic feeling was spread.（《世界著名奶茶大全》 厨影美食） By far, modern milk tea has preliminarily come into shape.

Due to the reckless global expansion of British colonists, lots of oriental local products, including milk tea of China, were also transported to the occidental world. Later, milk tea was improved and reformed in Britain.--Zhumeimei (talk) 16:01, 17 December 2020 (UTC)

Since the introduction of milk tea into Britain, due to the difference of climate and dietary habits, British gave up the utilization of spice, but mixed sundry kinds of tea instead to make milk tea, and added maple sugar as condiment, thus giving birth to the rudiment of modern milk tea and its basic ingredients.（《世界著名奶茶大全》 厨影美食）--Zhumeimei (talk) 16:01, 17 December 2020 (UTC) Later, Taiwan introduced milk tea.

In the spring of 1987, manager of a Taiwanese cold drink department---Ms. Lin Xiuhui of "Chunshuitang" , added a local snack made by flour into milk tea, and after her successful promotion to consumers, Lin and her colleagues Shen Tonge, Lin Lingru and Wang Yufeng, were inspired by cooked flour whose shape and color is similar to black pearl, thus creating the name “Pearl Milk Tea”(Bubble tea, currently). Henceforth, the name full of aesthetic emotions was spread far and wide.（《世界著名奶茶大全》 厨影美食）--Zhumeimei (talk) 16:01, 17 December 2020 (UTC)

By far, modern milk tea has come into its preliminarily shape.--Zhumeimei (talk) 16:01, 17 December 2020 (UTC)

1.Local Changsha Milk Tea

When in Changsha, talk as Changshanese do, so let’s talk about Changsha local milk tea first. As we all know, Changsha is famed as an Internet celebrity city, mostly due to “Sexytea”. Sexytea was founded in 2013 as Changsha’s original Chinese style tea brand, uniquely practicing the creation of “new Chinese-style fresh tea”, and staying committed to growing to an original tea beverage design brand. What Sexytea brings to customers is not only a cup of tea, but also an interesting lifestyle, thus showing the beauty of China on the basis of tea. All Sexytea milk tea is produced with Nestle fresh milk and excellent quality tea leaves as ingredients. The logo of Sexytea is mainly composed of a Jiangnan woman. A fan and a beauty vividly show the majesty and quaintness of antique Chinese style. Compared with other current milk tea brand logos, that of Sexytea has left a great impression on people.（茶颜悦色密码 2020,68） The signature milk tea of Sexytea is “black tea latte”, comprised of Ceylon black tea, Zelanian Anchor whipping cream and American pecans. On the top of the paper cup is Anchor whipping cream with pecans. Black tea latte emphasizes both milk and tea, with each flavor balanced pretty well.

When in Changsha, why not talk as Changshanese do, so let’s talk about Changsha local milk tea first. As we all know, Changsha is reputed as an Internet celebrity city, mostly due to “Sexytea”. Sexytea was founded in 2013 as the first original Chinese style tea brand in Changsha, uniquely practicing the creation of “new Chinese-style fresh tea”, and staying committed to growing to an original tea beverage design brand. What Sexytea brings to customers is not only a cup of tea, but also an interesting lifestyle, thus showing the beauty of China by means of tea. All Sexytea milk tea is produced with Nestle fresh milk and excellent quality tea leaves as ingredients.--Zhumeimei (talk) 16:31, 17 December 2020 (UTC)

The logo of Sexytea is mainly composed of a Jiangnan (south of Yangtze River) woman. A fan and a beauty vividly show the majesty and quaintness of antique Chinese style. Compared with other current milk tea brand logos, that of Sexytea has left a great impression on people.（茶颜悦色密码 2020,68）--Zhumeimei (talk) 16:31, 17 December 2020 (UTC)

The signature milk tea of Sexytea is “black tea latte”, made up by Ceylon black tea, Zelanian Anchor whipping cream and American pecans. On the top of the paper cup is Anchor whipping cream with pecans. Black tea latte attaches the same importance to both milk and tea, with each flavor mingled pretty well.--Zhumeimei (talk) 16:31, 17 December 2020 (UTC)

2.Hong Kong-style milk tea

The inventor of Hong Kong-style milk tea is Lin Muhe, the founder of the time-honored brand Lanfangyuan in Central, Hong Kong. The 81-year-old "Father of Hong Kong-style milk tea" has never used silk stockings to make tea. When Lanfangyuan was firstly opened, silk stockings were not yet fashionable in Hong Kong. When Lin Muhe was about 10 years old, he worked in Hong Kong, with his wife and a clerk opened Lanfangyuan Food Stall in Baihua Street of Central in 1952. During those days, the small stall always attracted nearby dockers every afternoon, who enjoyed themselves watching Lin Muhe and his colleagues washing their tea bags to and fro. When they saw the brown color of tea bags, they thought it was silk stockings. After that, they would shout "a cup of silk stockings milk tea". This is the origin of silk stockings milk tea(currently Hong Kong-style milk tea).（《百度百科——丝袜奶茶》)

The inventor of Hong Kong-style milk tea is Lin Muhe, the founder of the time-honored brand Lanfangyuan in Central, Hong Kong. The 81-year-old "Father of Hong Kong-style milk tea" has never used silk stockings to make tea. When Lanfangyuan was firstly opened, silk stockings were not yet popular in Hong Kong. When Lin Muhe was about 10 years old, he worked in Hong Kong. Later, with his wife and a clerk, he opened Lanfangyuan Food Stall in Baihua Street of Central in 1952. During those days, the small stall always attracted nearby dockers every afternoon, who enjoyed themselves watching Lin Muhe and his colleagues washing their tea bags to and fro. When they saw the brown color of tea bags, they thought it was silk stockings. After that, they would shout "a cup of silk stockings milk tea" to place an order, hence the name of this milk tea(currently Hong Kong-style milk tea).（《百度百科——丝袜奶茶》)--Zhumeimei (talk) 09:14, 18 December 2020 (UTC)

3.Indian Masala Chai

Authentic Masala Chai can only be drunk in India, which is cooked by delicate handicrafts. Due to the addition of various spices, the taste is strong, mellow, hot and spicy at the beginning. However, if the flavor is slightly changed, it will be sweet or spicy, or the various flavors will react with each other. It is just as confusing as Indian curry, but pretty fascinating. Maybe this is what Masala Chai should be. Drinking Indian milk tea is not only a baptism to taste, but also a return to primitive nature.（《世界著名奶茶大全》 厨影美食）

Authentic Masala Chai can only be drunk in India, which is cooked by delicate handicraftsmen. Due to the addition of various spices, the taste is strong, mellow, hot and spicy at the first sip. However, if the flavor is slightly changed, it will be sweet or spicy, or the various flavors will react with each other. It is just as confusing as Indian curry, but pretty fascinating. Maybe this is the essence of Masala Chai. Drinking Indian milk tea is not only a baptism to taste, but also a return to primitive nature in certain level.（《世界著名奶茶大全》 厨影美食）--Zhumeimei (talk) 09:14, 18 December 2020 (UTC)

1.Advantages

Drinking milk tea can quickly supplement sugar, increase body energy, decrease fatigue and improve working efficiency.

Drinking milk tea can rapidly replenish sugar, increase body energy, mitigate fatigue and improve working efficiency.--Zhumeimei (talk) 09:21, 18 December 2020 (UTC)

2.Disadvantages

Drinking too much milk tea will increase the possibility of getting fat. It will also increase cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer if drunk for a long time.

Drinking too much milk tea will increase the risk of getting fat. It will also induce cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer after a long time consuming.--Zhumeimei (talk) 09:26, 18 December 2020 (UTC)

References

1.李欣童.（2020）浅谈台湾奶茶文化的三十年变迁.传播力研究,4(14)14-15

2.《世界著名奶茶大全》 厨影美食

3.《百度百科——丝袜奶茶》

4.茶颜悦色密码 （2020）国企管理,(20)68.

Terms and Expressions

Milk tea 奶茶

Spice 香辛料

Rudiment 雏形

Sexytea 茶颜悦色

Black tea latte 幽兰拿铁

Hong Kong-style milk tea 丝袜奶茶

Cholesterol 胆固醇

Hyperglycemia 高血糖

Mongolian Plateau 蒙古高原

Maple sugar 枫糖

Bubble tea 珍珠奶茶

Internet celebrity city网红城市

Pecans 碧根果

Masala Chai 马萨拉奶茶

Hyperlipidemia 高血脂

Angiocardiopathy 心血管疾病

Gastrointestinal 肠胃的

Questions

1.What is the origin of milk tea?

Mongolia Milk Tea.

2.Who promoted milk tea?

British colonists.

3.What is the birth place of modern milk tea?

Britain.

4.What is Changsha’s most famous Internet celebrity milk tea shop’s name?

Sexytea.

5.Is Hong Kong-style milk tea produced with silk stockings?

No.

6.What are the advantages of drinking milk tea?

Drinking milk tea can quickly supplement sugar, increase body energy, decrease fatigue and improve working efficiency.

7.What are the disadvantages of drinking milk tea?

Drinking too much milk tea will increase the possibility of getting fat. It will also increase cholesterol, and even lead to hyperlipidemia and hyperglycemia, doing harm to liver and kidney, increasing risks of angiocardiopathy, thus affecting study and memory, and damaging normal gastrointestinal function. It will even cause cancer if drunk for a long time.

Qingming Riverside Landscspe Garden-Zeng Liang 曾良- MTI 英语笔译-202070080578

Introduction

Located on the west bank of Dragon Pavilion in Kaifeng, Henan Province, Qingming Riverside Landscape Garden is a large-scale historical and cultural theme park covering an area of more than 600 acresand showing the prosperous scenery of Song Dynasty. It is based on the painting Riverside Scene at Qingming Festival drawn by famous painter Zhang Zeduan in the earlier Song Dynasty.(Wei Tuo 2006,13)

In 2009, Qingming Riverside Landscape Garden was chosed as China's first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and also, the first batch of 5A-level tourist attractions and China's intangible cultural heritage exhibition base. It was officially opened to the public on October 28, 1998.(Wei Tuo 2006,13)

The painting Riverside Scene at Qingming Festival is a precious scroll of social and folk life in ancient China, reflecting the social life, manners and customs of marketplace, and urban architectural patterns of Kaifeng, the capital of the Northern Song Dynasty in China. Although it is just a minor part of Kaifeng at that time, people can still have a glimpse of the general appearance of other streets and urban areas. It is interesting that a thousand years ago, Zhang Zeduan moved it from reality to a painting, but a thousand years later, Kaifeng people moved it from a painting into reality. Wandering among them, people can have a feeling of going back in time.(Zhang Lu 2013,25)

There are eight functional zones including posthouse, folk custom, characteristic food street, demonstration of culture in Song Dynasty, flower, bird, fish, bug, prosperous capital, leisure and shopping, and integrated service, and four cultural zones including military drill ground, Rainbow Bridge, folk custom, and capital of Song Dynasty. The main architechtures of the garden include gate building, rainbow bridge, street view, stores, river channels, wharfs and ships. According to the original layout of Riverside Scene at Qingming Festival, the garden presents the fabrications on site such as wine shops, teahouses, pawnshops, Bian (today’s Kaifeng) embroideries, official porcelains, and New Year paintings, gathers folk performance, vaudeville, and drum performance.(Gao Jing 2010,18)

The main tourist attrations in the garden include Rainbow Bridge, Fuyun Pavillion, Shangshan Gate and so on. The Rainbow Bridge is an important creation in the history of ancient Chinese bridges. It is listed as the top ten famous bridges in China, and a major landscape in the Qingming Riverside Landscape Garden. The original one was built in 1050 and reconstructed in 1998. It is a replica of one of the ten ancient timber bridges.(Chen Kang 2006,62)

The Fuyun Pavillion, the tallest building in the garden, reaches 31.99 meters high. The name of “Fuyun” has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map. From the outside, the pavilion is four floors but there are another three floors hidden inside. It is also the place where important royal documents and traditional Chinese painting and books are stored during the Song Dynasty.(Zhang Lu 2006,62)

Every year, Qingming Riverside Landscape Garden will hold a series of cultural festivals, such as folk cultural festival of Song Dynasty, Qingming cultural festival, and chrysanthemum cultural festival. During the folk cultural festival of Song Dynasty, the scenic spot will gather unique folk performances across the country, such as flower-drum on the high platform, stilt, dragon dance, lion dance, small Henan opera. The international lantern exhibition is the highlight of folk cultural festival of Song Dynasty. A visual feast will be brought by auspicious tradition of Chinese Pavilion, the fresheness and refineness of Asian Pavilion, simplicity and fashion of European Pavilion, the quaint Buddhism of the Southeast Asia Pavilion, and the luxurious atmosphere of the African Pavillion.(Zhang Lu 2013, 26)

During the Qingming Festival, the garden will hold some Qingming cultural festivals to promote traditional festival culture. At that time, vistors can walk out for a spring outing, plant willion trees, watch folk customs, taste snacks, and enjoy the large-scale water live performances called Luxuriant Dream of the East Capital of the Great Song Dynasty. This event combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life.(Gao Jing 2010,17)

Chrysanthemum cultural festival is another grand one in the garden, during which all kinds of chrysanthemums will be presented. The annual chrysanthemum festival in Kaifeng is held from October to November. Qingming Riverside Landscape Garden focuses on beautiful chrysanthemum plants, and makes full use of architectures, sculptures, mountains, the surface of the water and association of activity and inertia to highlight the cultivated and creative skills of Kaifeng people. Chrysanthemums are changed into various shapes, attracting thousands of visitors from all over the world. In the exhibition, visitors can enjoy and appreciate some species of chrysanthemum that are rarely seen in our daily life.(Zhang Lu 2013,24)

There are vaious performances presented in the Qingming Riverside Landscape Garden, such as "Luxuriant Dream of the East Capital of the Great Song Dynasty", "Baogong Salutes to Guests", "Spitting Fire Show", "Cockfight", "Women's Polo" and so on. Among these formances, "Luxuriant Dream of the East Capital of the Great Song Dynasty" is a representative show of the garden. It is a large-scale live water performance produced by Qingming Riverside Landscape Garden. The performance lasts for 70 minutes and is performed by more than 700 actors. It is a scroll about the heyday of the Northern Song Dynasty. The bustling scene of the Song Dynasty market, the prosperity of the capital of Bianliang(today's Kaifeng), the mighty momentum of luxurious neighboring countries, the tragedy of wars, and the sustenance of blessings constitute a wash painting with a combination of noise and tranquility.(Gao Jing 2010,16)

Ancient Chinese architectures and western architectures are different. The ancient architectures of China can be divided into palace architecure, religious architecture, mansion architecture and public architecture, which can be seen in the Qingming Riverside Landscape Garden. Compared with the Gothic architecture during the Middles Ages of the western Europe, the architecture of Song Dynasty shows a delicate and soft style, with complex forms of palaces, terraces, towers and pavilions, while Gothic archetecture is magnificent and exquisite. It has pointed vaults, which gives people a visual impact and has a strong religious color.(Pang Runxin 2019,10)

Terms and Expressions

Qingming Riverside Landscape Garden 清明上河园

Riverside Scene at Qingming Festival 《清明上河图》

Rainbow Bridge 虹桥

Fuyun Pavillion 浮云阁

Shangshan Gate 上善门

chrysanthemum 菊花

Baogong Salute to Guests 包公迎宾

Spitting Fire Show 气功喷火

Cockfight 斗鸡

Women’s Polo 女子马球

Luxuriant Dream of the East Capital of the Great Song Dynasty 大宋·东京梦华

Questions

1. What is the location of Qingming Riverside Landscape Garden?

2. What’s the role of Qingming Riverside Landscape Garden in China?

3. When was Qingming Riverside Landscape Garden opened to the public?

4. Who is the painter of Riverside Scene at Qingming Festival?

5. Which dynasty does the painting Riverside Scene at Qingming Festival present?

6. What does the name of "Fuyun Pavilion" mean?

7. What are the characteristics of the performance of "Luxuriant Dream of the East Capital of the Great Song Dynasty"?

8. Can you please list some kinds of performance of Qingming Riverside Landscape Garden besides "Luxuriant Dream of the East Capital of the Great Song Dynasty"?

Answers

1. It is located on the west bank of Dragon Pavilion in Kaifeng, Henan Province.

2. In 2009, Qingming Riverside Landscape Garden was chosed as China’s first theme park in the style of the ancients by China World Records Association. It is a key historical and cultural tourist attraction on the national Yellow River golden tourism line, and it is also the first batch of 5A-level tourist attractions in the country and China’s intangible cultural heritage exhibition base.

3. It was officially opened to the public on October 28, 1998.

4. Zhang Zeduan.

5. Northern Song Dynasty.

6. The name of "Fuyun" has two meanings: one is to touch, which means the pavilion rises into the clouds and touches the white clouds; the other is to clean, which means blowing away the smoke and clouds of history, and returning a real treasure map.

7. It combines historical Song cultural elements with modern entertainments, allowing visitors to better experience spring, get close to culture and enjoy life.

8. Baogong Salutes to Guests, Spitting Fire Show, Cockfight, and Women’s Polo.

References

Chen Kang 陈康. (2006).《清明上河园》的精彩场景——贯木拱虹桥 [Excellent Scenes of Qingming Riverside Landscape Garden——Wooden Arch Rainbow Bridge]. 集邮博览 Philatelic Panorama(07)62-63.

Gao Jing 高静. (2010). 清明上河园——玩转宋文化 [Qingming Riverside Landscape Garden—Fully Experience the Culture of Song Dyansty]. 光彩 Brilliance(04)16-19.

Li Mei 李梅. (2007). 清明上河园特色建设与长远发展 [Distinctive Architecture of Qingming Riverside Landscape Garden nd its Long Development]. 合作经济与科技 Co-operative Economyand Science(8)10-12.

Pang Runxin 庞润昕. (2019). 《清明上河图》的建筑艺术 [Architectural Art in Paintings of Riverside Scene Qingming Festival]. 景德镇陶瓷大学 Jingdezheng Ceramic Institute(06)10-16.

Wei Tuo 韦陀. (2006). 张择端之《清明上河图》 [Riverside Scene at Qingming Festival Painted by Zhang Zeduan]. 紫禁城 Forbidden City（Z2)13-15.

Zhang Lu 张璐. (2013). 清明上河园与宋都文化传承创新研究 [Inheritance and Innovation Research Study of "Qingming River" Song Dynasty Theme Park]. 赤峰学院学报 Chi Feng College Journal(05)23-27. --Zeng Liang (talk) 15:36, 20 December 2020 (UTC)

Batik, Zeng Xinyuan 曾心媛202070080579 MTI英语笔译

Batik(Lanran)

Batik is a traditional printing and dyeing craftsmanship of textile in China. It was called laxie (Xie, a printing and dyeing method) in ancient times, also known as one of the four great ancient printing techniques which also include jiaoxie (tie-dye), huixie (hollow printing), and jiaxie ( Clamping fabric with clips and the clamped part is difficult to be penetrated by the dye, so as to produce patterns)) in ancient China.（Baidu Encyclopedia—Batik）

History

According to interpretation of "Laran" in the collection of Wang Aijun of Junyou Society: Batik is an ancient dyeing technique. It is called “Batik” in Indonesia or Malaysia.（Baidu Encyclopedia—Batik）

Batik art, with a long history, emerged in China. According to the records of the “Eryi Records”, Batik appeared in the Qin and Han Dynasties, and then became popular during the Six Dynasties. The court of the Sui Dynasty especially liked this kind of handicrafts, and special patterns appeared in this period. The earliest unearthed batik object was a quilt which was excavated in the tomb of Chu in the Warring States Period in Changsha, and the pattern on the quilt is still unknown.(Liu Haili, 1986,1)

Batik was especially popular in the Tang Dynasty, during which the technology was more mature than before. At that time, batik can be divided into two types: single-color dyeing and multi-color dyeing, the latter of which can use as many as four or five colors. Later generations can get a glimpse of the gaudiness of batik patterns in the Tang Dynasty from clothes of two women in Song Huizong’s copy of The Painting of Pounding the Texture by Zhang Xuan, and horsemen’s clothes in The Painting of Lady Guoguo on a Spring Outing. Due to the great influence of Chinese culture in the Tang Dynasty on Japan, Nara’s Shosoin has preserved various treasures of Chinese craftsmanship since the Tang Dynasty, including a set of batik folding screen, which was brought back to Japan by a monk in the Tang Dynasty. (Baidu Encyclopedia—Batik, Cao Saina, 2020,5）

Batik has declined in China since the Song Dynasty, but it has become popular in various parts of Southeast Asia at the same time (especially in Japan, Sumatra and other islands). So far, Indonesian and Malaysian clothes are almost all made of batik.

Types

Because of vast territory of China, Chinese folk batik art has different forms and styles in different regions. Whether to understand batik art from the perspective of region or ethnic group, it seems difficult to adopt a single method to classify the batik art because of its diversity.Therefore, some scholars analyzed the characteristics of batik art according to different regions, and some scholars tried to understand the style of batik art based on different ethnic groups. We adopted both ways to classify batik art.

China's batik is mainly distributed in Guizhou, Yunnan, Guangxi, Hainan, Sichuan, Hunan, Guangdong, Taiwan, Jiangxi provinces. Chinese batik has different types, such as type of Danzhai, Chonganjiang, Zhijin, Rongjiang, Southern Sichuan, Hainan, Wenshan, etc. The use, craft, pattern and style of batik vary from region to region. （Baidu Encyclopedia—Batik）

Technical Process

Preparation

Firstly, bleaching and washing the cloth with straw ash, then knead boiled taros into a paste and apply them to the back of the cloth. After drying, using horns to smooth and polish the cloth on a natural ironing table—slate. （Liao Li, 2012）

Applying wax

Putting the white cloth flat on a wooden board or table, and filling a ceramic bowl or metal pot with beeswax, which was melt with charcoal ash or chaff shell in the brazier, so as to dip the wax with a copper knife. Then people can start drawing with the wax. Making a rough sketch according to paper-cut patterns, based on which various beautiful patterns were drawn on the cloth. （Liao Li, 2012）

Dip-dyeing

Firstly, putting the wax-painted cloth in an indigo dyeing vat. Secondly, taking it out and drying in the air after being soaked for five or six days, and it will be light blue. After soaking it several times, it will become dark blue. To have both light and dark patterns on the same cloth, one needs to apply wax to the light blue cloth and dip dye it again, after which it appeared in two shades of blue. When the wax-painted cloth was soaked in the dyeing vat, some "wax seals" were broken due to folds, forming natural cracks, generally called "ice patterns". This "ice pattern" tends to make the batik pattern more layered and unique. （Liao Li, 2012）

Dewaxing

After rinsing, boiling with clear water, the wax was removed, showing clear-cut blue and white patterns on the cloth.（Liao Li, 2012）

Materials

The basic principle of batik is to apply wax in the shape of flower on cloth (in ancient times, people use beeswax, while in modern times, people use mixed wax made of paraffin, beeswax, and wood wax), and dip dye the part without wax blue, while the the part with wax turns out to be white, known as “white space” in jargon. Besides, dyestuff could only be used in low temperature because that every wax would melt in high temperature.(Liao Li, 2012)

In ancient times, there were no chemical dyes, people had to use vegetal dyes, for example, the stems and leaves of various plants such as Polygonum in Polygonaceae, Isatis tinctoria in Cruciferae, and Woody in leguminous can be fermented to produce indigo dyestuffs. Dyestuffs made from other plants such as safflower for red, madder, yellow gardenia, turmeric for yellow, and Rhamnus utility for green, could only be dyed in hot water, or the color may fade quickly. However, in high temperature, the beeswax had melted and couldn’t maintain the flower shape on the cotton. Therefore, it was difficult to make batik fabrics of other colors but indigo in ancient times.(Liao Li, 2012)

In the modern printing and dyeing industry, the X-type reactive dyes used in large quantities are all low-temperature types, which can be used below 20-35 degrees and have many different colors. That’s why modern batik crafts can be colorful. However, from the perspective of environmental protection, indigo batik is safer and healthier. （Liao Li, 2012）

Patterns

From the classification of Guizhou batik patterns, there were mainly two categories: natural and geometric patterns. Natural patterns can be divided into plant patterns and animal patterns.（Li Xing, 2020,3)

Natural patterns include chrysanthemum, lotus, peach, orchid, peony, pomegranate, gourd, sunflower, cockscomb, duckweed, aquatic plants, bracken, pepper, and nameless flowers in the mountains.（Baidu Encyclopedia—Batik）

Animal patterns include ox, dragon, Birds, tigers, lions, elephants, deer, dogs, rabbits, chickens, rats, phoenixes, pheasants, titmouses, owls, bats, butterflies, bees, frogs, snails, turtles, shrimps and other patterns.（Baidu Encyclopedia—Batik）

The patterns were originated from the nature, based on which ethnic minorities in Guizhou province made bold changes in creation, accurately presenting characteristics of the objects in an extravagant way with high aesthetic value.

Batik art has been handed down from generation to generation in ethnic minority areas. After a long time development, it has accumulated rich creative experience and formed an unique art style, becoming a flower of national art with Chinese characteristics.(Liao Li, 2012）

Terms and Expressions

batik 蜡染

laxie 蜡缬

huixie 灰缬

jiaoxie 绞缬

jiaxie 夹缬

Eryi Records 《二仪实录》

The Painting of Pounding the Texture 《捣练图》

The Painting of Lady Guoguo on a Spring Outing《虢国夫人游春图》

single-color dyeing 单色染

multi-color dyeing 复色染

Nara’s Shosoin 奈良的正仓院

Polygonum 蓼蓝

Polygonaceae蓼科植物

Isatis tinctoria 松蓝

Cruciferae 十字花科

anil 木蓝属植物

leguminous豆科

safflower红花

madder茜草

yellow gardenia黄色栀子

turmeric姜黄

Rhamnus utility冻绿

Questions and Answers

1. Which four printing techniques are the four great printing techniques in ancient China?

Laxie, huixie, jiaoxie,and jiaxie.

2. When did batik appear and become popular?

Batik appeared in the Qin and Han Dynasties, and then became popular during the Six Dynasties.

3. What batik product was kept in Nara’s Shosoin?

Nara’s Shosoin has preserved various treasures of Chinese craftsmanship since the Tang Dynasty, including a set of batik folding screen.

4. Where does batik mainly distribute in China?

China's batik is mainly distributed in Guizhou, Yunnan, Guangxi, Hainan, Sichuan, Hunan, Guangdong, Taiwan, Jiangxi provinces.

5. What are the 4 main processes of making a batik?

Preparation, applying wax, dip-dyeing, and dewaxing.

6. How does “ice patterns” appear?

When the wax-painted cloth was soaked in the dyeing vat, some "wax seals" were broken due to folds, forming natural cracks, generally called "ice patterns".

7. Why was it difficult to make batik fabrics of other colors in ancient times?

Because dyestuffs of different colors could only be used used in hot water, or the color may fade quickly. However, in high temperature, the beeswax had melted and couldn’t maintain the flower shape on the cotton.

References

Baidu Encyclopedia—Batik 百度百科—蜡染 https://baike.baidu.com/item/蜡染/306637?fr=aladdin

Liao Li, 廖利 Batik Art《蜡染艺术》世界大学城 www.worlduc.com

Cao Saina曹赛娜. The Evolution Trend of Chinese Batik and Its Local Activation Method 中国蜡染演化趋势与本土活化方式浅探 China Art College 中国美术学院,2010:5

Li Xing, 李欣. Development and Cultural Connotations of Batik in Guizhou 贵州蜡染发展源流及文化内涵 . Memoir of the first academic seminar of the Education Modernization Professional Committee of the Guangdong Education Society in 2020 广东教育学会教育现代化专业委员会2020年第一次学术研讨会论文集 2020:3.

Liu Haili刘海粟. The History, Current Situation and Development of Batik in Guizhou贵州蜡染的历史、现状及其发展. 贵州师范大学学报(社会科学版),1986,(01):1-6.

Chinese Ancient Weapons -Zhang Hui张慧 202070080622 MTI

A.Chinese Ancient Weapons

In ancient China, there was a saying of “18 martial arts”, which actually refers to 18 kinds of weapons. Generally, it refers to bow, crossbow, gun, stick, knife, sword, spear, shield, axe, greataxe, dagger halberd, spiked mace, iron whip, bar mace, hammer, trident, palladium, and dagger axe. But the weapons in Chinese martial arts are far more than eighteen kinds, if you add all kinds of strange weapons and all kinds of hidden weapons, its total number is no less than a hundred kinds of fear.(沈志刚，2010).Quotation missing--Liu Yi (talk) 13:42, 19 December 2020 (UTC)

Short weapons

The so-called short weapons are generally no longer than a person’s eyebrows, lighter in weight, and often held in one hand when used. The most common short weapons are knives and swords.

Long Weapons

The most common long weapons in the martial arts world are spears, stick, and swords. The cord strike concealed weapons are rope dart, meteor hammers, flying claws, soft whips, iron lotus flowers and so on.

Historical Origins

Generally speaking, Chinese ancient weapons refer to the various types of weapons and total equipment used by the Chinese army and civilians in ancient China from the prehistoric period to the end of the Qing Dynasty, that is, until the Opium War in 1840. Both Chinese and foreign studies of ancient weapons take the use of gunpowder as a historical phase, that is, before the invention of gunpowder, the weapons used in the army were called cold weapons. After the invention of gunpowder, the weapons made of gunpowder appeared, firearms. This was the period when cold weapons and firearms were used together. Ancient Chinese weapons can be roughly divided into three stages, the first is the prehistoric period, which is the Stone Age weapons.Quotation missing--Liu Yi (talk) 13:42, 19 December 2020 (UTC)

After the beginning of bronze smelting and casting, the main material for weapons at this time began to change to bronze. The weapons of this period were the weapons of the Bronze Age. After people understood the smelting of metals, the main material of the weapons used by the army was changed to steel, and then it entered into the Iron Age.

During the Northern Song Dynasty, gunpowder began to be used in weapons. China was the home of gunpowder, and its army was the first to use gunpowder weapons. After gunpowder came to the West, there was a great development. Therefore, the Dutch and Spanish merchant ships came to China and brought over advanced western firearms, and the Ming Army began to introduce western firearms production technology. After the Opium War, the Qing Dynasty started to train new soldiers, Yuan Shikai started to train new soldiers, and started to introduce new western firearms, the history of ancient Chinese weapons ended. The following is a specific introduction of several weapons.

The meteor hammer

The meteor hammer(Chinese: 流星錘), often referred to simply as meteor (Chinese: 流星), is an ancient Chinese weapon, consisting at its most basic level of two weights connected by a rope or chain. One of the flexible or "soft" weapons, it is referred to by many different names worldwide, dependent upon region, construction and intended use. Other names in use include dai chui, flying hammer, or dragon’s fist. It belongs to the broader classes of flail and chain weapons. The meteor hammer could be easily concealed as a defensive or surprise weapon, being of a flexible construction. The primary advantage for using a meteor hammer was its sheer speed.There are two types of meteor hammers:[1] a double-headed version (the typical image of a meteor hammer is generally of this type) and a single-headed version.

Using a meteor hammer involves swinging it around the body to build up considerable speed before releasing the meteor to strike at any angle. Since the meteor has two heads, one could be used offensively while the other could be used to defend, parrying attacks or ensnaring an opponent’s weapon to disarm them. When used by a skilled fighter, its speed, accuracy and unpredictability make it a difficult weapon to defend against. While being swung, a meteor may be wrapped around its user’s arms, legs, torso, neck or waist, before being unwrapped by a powerful jerk of the body to deliver a devastating and swift blow. A master is fully capable of striking, ensnaring or strangling from a distance.

Rope Dart

The rope dart or rope javelin (simplified Chinese: 绳镖), is one of the flexible weapons in Chinese martial arts. Other weapons in this family include the meteor hammer, flying claws, Fei Tou flying weight, and chain whip. Although the flexible weapons share similar movements, each weapon has its own specific techniques. Demonstration of the use of a rope dart.

The rope dart is a long rope (usually 3–5 metres or 10–16 feet) with a metal dart attached to one end. This was a weapon from ancient times, which allows the user to throw the dart out at a long-range target and use the rope to pull it back. The rope dart can be used for twining, binding, circling, hitting, piercing, tightening, slashing and other techniques.The first written description of the rope dart is dated from the Tang Dynasty (618–907 AD).

Rope dart play consists of twining, shooting, and retrieval. Twining and shooting can be done from any joint such as foot, knee, elbow, and neck. The rope is anchored on one hand and played primarily with the other hand.

Skillful use of the rope dart can easily trick an opponent because the dart can shoot out very suddenly, from a person beyond immediate reach.Just like the chain whip, excellent hand-eye coordination is a must for the practitioner to use this weapon well. In some Wushu training regimens, the chain whip and Changquan are prerequisites for learning the rope dart.

A variation of this weapon is the meteor hammer, which has a blunt weight on the end of the rope. It was used in a similar fashion to the rope dart, and many of the techniques are the same.

These ancient weapons have been replaced by newer weapons as they have evolved, and eventually their historical missions have come to an end. The ancient weapons that once equipped the military have been forgotten. So far, many people have only a glimpse of the ancient weapons from movies and plays.

It is not uncommon for people to be forgotten. In fact, this kind of forgetfulness is quite normal, as weapons are not always the only thing that can be forgotten. It is with the development of society that old things are naturally forgotten as they are continually being eliminated and renewed. We look forward to the development of more advanced weapons, more technological progress, and a stronger country!

B.Terms and Expressions

greataxe 钺

trident 叉

dagger halberd 戟

spiked mace 殳

soft whip 软鞭

bar mace 锏

dagger axe 戈

rope dart 绳镖

C.Questions

1. The total numbers of Chinese martial arts?

Answer: The weapons in Chinese martial arts are far more than eighteen kinds.

2. The name of the first stage of Chinese weapons?

Answer: The Stone Age weapons.

3. The other weapons in the family of rope dart?

Answer: The meteor hammer, flying claws, Fei Tou flying weight, and chain whip.

4. How to use a meteor hammer?

Answer: Using a meteor hammer involves swinging it around the body to build up considerable speed before releasing the meteor to strike at any angle.--Zhang Hui (talk) 14:16, 3 December 2020 (UTC)

References

1.百度百科

2.沈志刚，《中国兵器的发展》.《明长城陵营造600周年学术研讨会论文集》，2010：497-500.

3."Chinese Kung Fu – Meteor Hammer". China A-2-Z. March 6, 2009. Archived from the original on September 23, 2009.

4.Jwing-Ming Yang (1999). Ancient Chinese Weapons: A Martial Artist's Guide. YMAA Publication Center Inc. p. 93.--Zhang Hui (talk) 09:02, 9 December 2020 (UTC)

[1].百度百科

[2].沈志刚，《中国兵器的发展》.《明长城陵营造600周年学术研讨会论文集》，2010：497-500.

[3]."Chinese Kung Fu – Meteor Hammer". China A-2-Z. March 6, 2009. Archived from the original on September 23, 2009.

[4].Jwing-Ming Yang (1999). Ancient Chinese Weapons: A Martial Artist's Guide. YMAA Publication Center Inc. p. 93.--Liu Yi (talk) 13:42, 19 December 2020 (UTC)

Terracotta Army-Zhang Ling 张玲 英语笔译 202070080623

Terracotta Army

The Terracotta Army, also known as Qin Shi Huang’s Buried Sculpture Legion, refers to the thousands of life-size clay models of soldiers, horses, and chariots which were deposited around the grand mausoleum of Shi Huangdi, first emperor of China and founder of the Qin dynasty, located near Lishan in Shaanxi Province, central China. The Terracotta Warriors are actually soldiers guarding Emperor Qin Shi Huang’s mausoleum and protecting him in the afterlife.（ Mark Cartwright, 2017)

The Terracotta Army, also known as Qin Shi Huang’s Buried Sculpture Legion, refers to the thousands of life-size clay models of soldiers, horses, and chariots, which were deposited around the grand mausoleum of Shi Huangdi, the first emperor of China and founder of the Qin dynasty, located near Lishan in Shaanxi Province, central China. The Terracotta Warriors are actually soldiers guarding Emperor Qin Shi Huang’s mausoleum and protecting him in his afterlife.（ Mark Cartwright, 2017)--Yu Ni (talk) 11:34, 17 December 2020 (UTC)

For centuries, Qin Shi Huang's massive mausoleum remained undetected until it was unearthed by chance by a group of farmers. In 1974, some farmers in the nearby Xiyang Village began digging a well o find a water resource on some waste land. At first, they found some unique red soil about 2-meter (6.6-feet) in depth underground. On the fifth day after the work started, they found a torso of a pottery figurine, and the villagers originally believed that it was a statue of god and became nervous about offending the god. Thereafter, they continued to find some bronze arrows, crossbows and broken warriors from the well. Prompted by this surprising find, archaeologists began to explore the area, resulting in the discovery of thousands of similar soldiers. After careful examination, they found that the pottery fragments should be parts of the Terracotta Warriors from Emperor Qin Shi Huang’s mausoleum. (Kelly Richman-Abdou, 2020)

For centuries, Qin Shi Huang's massive mausoleum remained undetected until it was unearthed by chance by a group of farmers. In 1974, some farmers in the nearby Xiyang Village began digging a well to find a water resource on some waste land. At first, they found some unique red soil about 2-meter (6.6-feet) in depth underground. On the fifth day after the work started, they found a torso of a pottery figurine, and the villagers originally believed that it was a statue of god and became nervous about offending the god. Thereafter, they continued to find some bronze arrows, crossbows and broken warriors from the well. Prompted by this surprising finding, archaeologists began to explore the area, resulting in the discovery of thousands of similar soldiers. After careful examination, they found that the pottery fragments should be parts of the Terracotta Warriors from Emperor Qin Shi Huang’s mausoleum. (Kelly Richman-Abdou, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

As the king of the Qin state, Qin Shi Huang (also known as Shi Huangdi) unified China from 221 BCE and then founded the Qin dynasty which is the first and multinational feudal empire in Chinese history. After he unified China, he considered his achievement surpassing the legendary "San Huang (three emperors)" and "Wu Di (five sovereigns)". He created a new title for himself: "Huangdi" together with "Shi (means the first)", hence get the name "Qin Shi Huang" or "Qin Shi Huangdi", which means he was the first emperor of China.(Kelly Richman-Abdou, 2020)

As the king of the Qin dynasty, Qin Shi Huang (also known as Shi Huangdi) unified China from 221 BCE and then founded the Qin dynasty which is the first and multinational feudal empire in Chinese history. After he had unified China, he considered his achievement surpassing the legendary "San Huang (three emperors)" and "Wu Di (five sovereigns)". He created a new title for himself: "Huangdi" together with "Shi (means the first)", hence get the name "Qin Shi Huang" or "Qin Shi Huangdi", which means he was the first emperor of China.(Kelly Richman-Abdou, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

The emperor seems to have been especially keen on acquiring immortality, so he sent his ministers to go on quests seeking for an elixir of immortality, and young emissaries were sent across the Eastern Sea in search of the fabled Penglai, land of the immortals. Having failed in these attempts to unnaturally prolong his life, Shi Huangdi returned to the age-old standby of autocratic rulers and had a huge mausoleum built instead. In fact, the whole great project began early in his reign, for it required a great deal of work to prepare. (Kelly Richman-Abdou, 2020)

The emperor seems to have been especially keen on pursuing immortality, so he sent his ministers to go on quests seeking for an elixir of immortality, and young emissaries were sent across the Eastern Sea in search of the fabled Penglai, land of the immortals. Having failed in these attempts to unnaturally prolong his life, Shi Huangdi returned to the age-old standby of autocratic rulers and had a huge mausoleum built instead. In fact, the whole great project began early in his reign, for it required a great deal of work to prepare. (Kelly Richman-Abdou, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

Ancient Chinese rulers generally had two or three statues outside their tombs as guardians, but Shi Huangdi chose a large group of such statues. The Terracotta Army is actually one of only four in all likelihood as that portion so far excavated (1.5 km from the mausoleum) is on the eastern side and is probably duplicated on the other three sides of the mausoleum. Even this one-quarter section has not been fully excavated, and archaeologists have explored only three of the four pits. (Travel China Guide, 2020)

Ancient Chinese governors generally had two or three statues outside their tombs as guardians, but Shi Huangdi chose a large group of such statues. The Terracotta Army is actually one of only four in all likelihood as that portion so far excavated (1.5 km from the mausoleum) is on the eastern side and is probably duplicated on the other three sides of the mausoleum. Even this one-quarter section has not been fully excavated, and archaeologists have explored only three of the four pits. (Travel China Guide, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

The main pit of the four which contain the discovered army measures 230 x 62 meters and is 4 to 6 meters deep. It had around 6,000 slightly larger than life-size depictions of infantrymen (1.8-1.9 metres tall), chariots and horses. The second pit, which is slightly smaller and R-shaped, had around 1,300 figures in it. Pit 3 is concave-shaped and consists of two wing-rooms, a chariot-house and around 70 figures. Judging from the internal layout of pit 3, it should be the headquarters of pit 1 and pit 2. The terracotta warriors can be divided into two categories: soldiers and military officials. Depending on the actual combat requirements, different types of warriors have different equipment. Most of them are clad in fine armor with bronze weapons in hand. The face shape, figure, expression, eyebrows, eyes and age of each terracotta warriors are different. (Travel China Guide, 2020)

The main pit of the four which contain the discovered army measures 230 x 62 meters and is 4 to 6 meters at depth. It had around 6,000 slightly larger than life-size depictions of infantrymen (1.8-1.9 metres tall), chariots and horses. The second pit, which is slightly smaller and R-shaped, had around 1,300 figures in it. Pit 3 is concave-shaped and consists of two wing-rooms, a chariot-house and around 70 figures. Judging from the internal layout of pit 3, it should be the headquarters of pit 1 and pit 2. The terracotta warriors can be divided into two categories: soldiers and military officials. Depending on the actual combat requirements, different types of warriors have different equipment. Most of them are clad in fine armors with bronze weapons in hand. The face shape, figure, expression, eyebrows, eyes and age of each terracotta warriors are different. (Travel China Guide, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

Experts confirmed that the material used to mold the terracotta warriors and horses is the "yellow earth" from around the mausoleum. Yellow earth is a kind of suitable material with good cohesiveness and plasticity. And the addition of grit to the earth enhances its mechanical properties, making it easy to form large figures. The figures of the terracotta warriors were fired in kilns. For even heating, the Qin craftsmen left small holes in the proper places on the figure. During the firing, the craftsmen paid special attention to keeping the heat at 1,000 C (1,830 F). (Travel China Guide, 2020)

Experts confirmed that the material used to mold the terracotta warriors and horses is the "yellow earth" from around the mausoleum. Yellow earth is a kind of suitable material with good cohesiveness and plasticity. And the addition of grit to the earth enhances its mechanical properties, making it easier to form large figures. The figures of the terracotta warriors were fired in kilns. For even heating, the Qin craftsmen left small holes in the proper places on the figure. During the firing, the craftsmen paid special attention to keeping the heat at 1,000 C (1,830 F). (Travel China Guide, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

In addition, experts did a lot of experiments and found that during the firing, these figures were placed upside down in the kiln. This was because the upper part of the figure was heavier than the bottom. The terracotta warriors we see today are steel gray without fresh colors, but they actually were once colored. They were painted with natural pigments refined from minerals. Though having been buried underground for more than 2,200 years, they remained the bright colors after being unearthed at the beginning. However, because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. (Travel China Guide, 2020)

In addition, experts did a lot of experiments and found that during the firing, these figures were placed upside down in the kiln. This was because the upper part of the figure was heavier than the bottom. The terracotta warriors we see today are steel gray without fresh colors, but they actually were once colored. They were painted with natural pigments refined from minerals. Though having been buried underground for more than 2,200 years, they remained the bright colors after being unearthed at the beginning. However, because of a lack of technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. (Travel China Guide, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

Historians theorize that the heads and bodies of warriors were manufactured on an assembly line production. This means that each individual part, such as the arms and legs, were made independently to speed up manufacturing. Then, after firing in the kiln, these different complete parts were assembled into one figure. Since each warrior's face was unique, it is believed that artisans added individual clay features on top of the mold for the face, perhaps based on real soldiers of the time. (Travel China Guide, 2020)

Historians theorize that the heads and bodies of warriors were manufactured on an assembly line production. This means that each individual part, such as the arms and legs, were made independently to speed up manufacturing. Then, after fired in the kiln, these different complete parts were assembled into one figure. Since each warrior's face was unique, it is believed that artisans added individual clay features on top of the mold for the face, perhaps based on real soldiers of the time. (Travel China Guide, 2020)--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

The terracotta figures of Qin Dynasty vividly and richly portray a variety of figures with certain characters. It is a symbol of the maturity of Chinese ancient molding art. It not only inherited the ceramic tradition of China since the Warring States period, but also laid the foundation for the prosperity of molding art in the Tang Dynasty. It serves as a connecting link between the preceding and the following. It is known as "the eighth wonder of the world" and "the treasure of ancient human spiritual civilization". In 1987, the mausoleum of the first emperor of Qin Dynasty and the pits of terracotta warriors were approved by UNESCO to be included in the World Heritage List. (百度百科——秦始皇兵马俑）

The terracotta figures of Qin Dynasty vividly and richly portrayed a variety of figures with certain characters. It is a symbol of the maturity of Chinese ancient molding art. It not only inherited the ceramic tradition of China since the Warring States period, but also laid the foundation for the prosperity of molding art in the Tang Dynasty. It serves as a connecting link between the preceding and the following. It is known as "the eighth wonder of the world" and "the treasure of ancient human spiritual civilization". In 1987, the mausoleum of the first emperor of Qin Dynasty and the pits of terracotta warriors were approved by UNESCO to be listed in the World Heritage List. (百度百科——秦始皇兵马俑）--Yu Ni (talk) 02:58, 18 December 2020 (UTC)

Terms and Expressions

Terrocotta army / Qin Shi Huang’s Buried Sculpture Legion 秦始皇兵马俑

chariot n. 战车

mausoleum n. 陵墓

Qin Shi Huang / Shi Huangdi 秦始皇

Pit 1 一号坑

Pit 2 二号坑

Pit 3 三号坑

kiln n. 窑

Eighth Wonder of the World 世界第八大奇迹

World Heritage List 《世界遗产名录》

Questions

1. Why did Qin Shi Huang make the Terracotta Army?

2. How were the Terracotta Army discovered?

3. How many figures are in the Terracotta Army, and has the whole Terracotta Army been discovered?

4. How the terracotta warriors were made?

5. Were the terracotta warriors once colored?

6. Why is the Terracotta Army important?

Answers

1. The purpose of Qin Shihuang's construction of the Terracotta Army is to have an army protect his mausoleum after his death.

2. The Terracotta Army was discovered by chance by a group of farmers when they were digging a well.

3. According to the estimate, there are more than 8,000 Terracotta Warriors, including about 6,000 from Pit 1, around 1,300 from Pit 2, and around 70 from Pit 3. However, these may be just a part of the whole Terracotta Army. With development in archeological technologies, it’s expected more Terracotta Warriors will be found in the future.

4. The material used to mold the terracotta warriors and horses is a "yellow earth" sourced from around the burial sites. The heads and bodies of the warriors were made via assembly line production. Artisans used mud to make a rough cast and then put it into kilns.

5. The Terracotta Warriors were once colored. They were painted with natural pigments refined from minerals. But because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. 

6. The Terracotta Warriors were once colored. They were painted with natural pigments refined from minerals. But because of the lack in technologies to preserve the colors, they faded out in just a few minutes once exposed in the air. 

References

1. Kelly Richman-Abdou. (2020). Unearthing the Importance of the Life-Sized Terracotta Warriors.

2. Mark Cartwright. (2017). Terracotta Army. Ancient History Encyclopedia.

3. Travel China Guide. (2020). What is the Terracotta Army? 10 Things You should Know.

4. 百度百科——秦始皇兵马俑

Zhang Peiwen 张佩闻

                                                                                Penjing

Bonsai, also known as penjing, is the ancient Chinese art of depicting artistically formed trees, other plants, and landscapes in miniature. Bonsai, also known as penjing, is the ancient Chinese art of depicting artistically trees, other plants, and landscapes in miniature.--Zhang Yujie (talk) 12:51, 18 December 2020 (UTC)

A.Categories

Penjing generally fall into one of three categories:

Penjing generally falls into three categories:--Zhang Yujie (talk) 12:51, 18 December 2020 (UTC)

1. Shumu penjing (树木盆景): Tree penjing that focuses on the depiction of one or more trees and optionally other plants in a container, with the composition's dominant elements shaped by the creator through trimming, pruning, and wiring.2. Shanshui penjing (山水盆景): Landscape penjing that depicts a miniature landscape by carefully selecting and shaping rocks, which are usually placed in a container in contact with water. Small live plants are placed within the composition to complete the depiction.3. Shuihan penjing (水旱盆景): A water and land penjing style that effectively combines the first two, including miniature trees and optionally miniature figures and structures to portray a landscape in detail.（百度百科：盆景的种类）

Shumu penjing (树木盆景): Tree penjing focuses on the depiction of one or more trees and optionally other plants in a container, with the composition's dominant elements shaped by the creator through trimming, pruning, and wiring.2. Shanshui penjing (山水盆景): Landscape penjing depicts a miniature landscape by carefully selecting and shaping rocks, which are usually placed in a container in contact with water. Small live plants are placed within the composition to complete the depiction.3. Shuihan penjing (水旱盆景): A water and land penjing style that effectively combines the first two, including miniature trees and optionally miniature figures and structures to portray a landscape in detail.（百度百科：盆景的种类）--Zhang Yujie (talk) 12:51, 18 December 2020 (UTC)

B.History

China has a long history of bonsai, dating back to the Neolithic Age, about eight or nine thousand years ago.People already know that plants were planted in bonsai to enjoy the scenery. In the Neolithic site of Hemudu in Yuyao County, Zhejiang Province, a piece of pottery with potted plants was found, which is believed to be the earliest evidence to determine the origin of bonsai. In the Western Han Dynasty, When Zhang Qian was on a mission to the Western Regions, in order to introduce the pomegranates from the Western regions to the central Plains, he adopted the method of potted pomegranates, which is the earliest record of potted plants in China so far. In the Southern and Northern Dynasties, the literati of the six dynasties pursued the artistic conception of landscape beauty, developed the pattern of one pool and three mountains in the garden design of the Han Dynasty, introduced nature into the garden, and pursued poetic painting, which laid a good foundation for the prosperity of bonsai in the Tang and Song dynasties and later.Powerful cultural prosperity in the Tang Dynasty, promoted the growth of bonsai art at that time, both the court and the folk, making enjoying bonsai makers try to become a fashion by using the theory of landscape painting creation will be combined into rocks and plants bonsai, strengthened the potted landscape artistic conception beauty in the Tang Dynasty. The bonsai of Song Dynasty developed further on the basis of inheriting the bonsai of the Tang Dynasty, and the differences between tree bonsai and landscape bonsai were more clear. The miniaturization of miniascape was achieved in Yuan Dynasty, which promoted the popularization and promotion of miniascape. Ming and Qing Dynasties, the category of bonsai was more diverse, in addition to the landscape bonsai, drought bonsai, water drought bonsai, there are also set with gold and jade bonsai. They are made of gold, ivory, gem cloisonne and other precious materials, which are noble and elegant, their appearances further enriched the types of ancient bonsai.（2017，菖蒲寿石斋）

China has a long history of bonsai, dating back to the Neolithic Age, about eight or nine thousand years ago. At that time, People already knew that plants can be planted in bonsai for enjoyment. In the Neolithic site of Hemudu in Yuyao County, Zhejiang Province, a piece of pottery with potted plants was found, which is believed to be the earliest evidence to prove the origin of bonsai. In the Western Han Dynasty, When Zhang Qian was on a mission to the Western Regions, in order to introduce the pomegranates from the Western regions to the central Plains, he adopted the method of potted pomegranates, which is the earliest record of potted plants in China so far. In the Southern and Northern Dynasties, the literati of the six dynasties pursued the artistic conception of landscape beauty, developed the pattern of one pool and three mountains in the garden design of the Han Dynasty, introduced nature into the garden, and pursued poetic painting, which laid a good foundation for the prosperity of bonsai in the Tang and Song dynasties and later. Cultural prosperity in the Tang Dynasty, promoted the growth of bonsai art at that time, both the court and the folk, making enjoying bonsai makers try to become a fashion by using the theory of landscape painting creation will be combined into rocks and plants bonsai, strengthened the potted landscape artistic conception beauty in the Tang Dynasty. The bonsai of Song Dynasty developed further on the basis of inheriting the bonsai of the Tang Dynasty, and the difference between tree bonsai and landscape bonsai was more clear. The miniaturization of miniascape in Yuan Dynasty was achieved, which promoted the popularization and promotion of miniascape. Ming and Qing Dynasties, bonsai category is more diverse, in addition to the landscape bonsai drought bonsai water drought bonsai, there are also set with gold and jade bonsai. They are made of gold, ivory, gem cloisonne and other precious materials, which are noble and elegant, their appearance further enriched the types of ancient bonsai.（2017，菖蒲寿石斋）--Zhang Yujie (talk) 12:51, 18 December 2020 (UTC)

C.Techniques and Care

Leaf trimming: the selective removal of leaves (for most varieties of deciduous tree)or needles from a bonsai's trunk and branches. Pruning: prune the trunk, branches, and roots of the candidate tree. Clamping: using mechanical devices for shaping trunks and branches. Grafting: new growing material (typically a bud, branch, or root) into a prepared area on the trunk or under the bark of the tree. Defoliation: It can provide short-term dwarfing of foliage for certain deciduous species. Watering must be regular and must relate to the bonsai species' requirement for dry, moist, or wet soil. Repotting must occur at intervals dictated by the vigour and age of each tree. Tools have been developed for the specialized requirements of maintaining bonsai. Soil composition and fertilization must be specialized to the needs of each bonsai tree, although bonsai soil is almost always a loose, fast-draining mix of components. Location and overwintering are species-dependent when the bonsai is kept outdoors as different species require different light conditions. It is important to note that few of the traditional bonsai species can survive inside a typical house, due to the usually dry indoor climate.（2018，盆栽管）

Leaf trimming: the selective removal of leaves (for most varieties of deciduous tree)or needles from a bonsai's trunk and branches. Pruning: prune the trunk, branches, and roots of the candidate tree. Clamping: using mechanical devices for shaping trunks and branches. Grafting: Putting new growing material (typically a bud, branch, or root) into a prepared area on the trunk or under the bark of the tree. Defoliation: It can provide short-term dwarfing of foliage for certain deciduous species. Watering must be regular and must relate to the bonsai species' requirements for dry, moist, or wet soil. Repotting must occur at intervals dictated by the vigour and age of each tree. Tools have been developed for the specialized requirements of maintaining bonsai. Soil composition and fertilization must be specialized to the needs of each bonsai tree, although bonsai soil is almost always a loose, fast-draining mix of components. Location and overwintering are species-dependent when the bonsai is kept outdoors as different species require different light conditions. It is important to note that few of the traditional bonsai species can survive inside a typical house, due to the usually dry indoor climate.（2018，盆栽管）--Zhang Yujie (talk) 12:51, 18 December 2020 (UTC)

D. In Other Culture

Similar practices exist in other cultures, including the Japanese traditions of bonsai and saikei, as well as the miniature living landscapes of Vietnamese hòn non bộ. Generally speaking, tree penjing specimens differ from bonsai by allowing a wider range of tree shapes (more "natural-looking") and by planting them in bright-colored and creatively shaped pots. In contrast, bonsai are more simplified in shape (more "minimal" in appearance) with larger-in-proportion trunks, and are planted in unobtrusive, low-sided containers with simple lines and muted colors.While saikei depicts living landscapes in containers, like water and land penjing, it does not use miniatures to decorate the living landscape. Hòn non bộ focuses on depicting landscapes of islands and mountains, usually in contact with water, and decorated with live trees and other plants. Like water and land penjing, hòn non bộ specimens can feature miniature figures, vehicles, and structures. Distinctions among these traditional forms have been blurred by some practitioners outside of Asia, as enthusiasts explore the potential of local plant and pot materials without strict adherence to traditional styling and display guidelines.（维基百科）

Similar practices exist in other cultures, including the Japanese traditions of bonsai and saikei, as well as the miniature living landscapes of Vietnamese hòn non bộ. Generally speaking, tree penjing specimens differ from bonsai by allowing a wider range of tree shapes (more "natural-looking") and by planting them in bright-colored and creatively shaped pots. In contrast, bonsais are more simplified in shape (more "minimal" in appearance) with larger-in-proportion trunks, and are planted in unobtrusive, low-sided containers with simple lines and muted colors.While saikei depicts living landscapes in containers, like water and land penjing, and it does not use miniatures to decorate the living landscape. Hòn non bộ focuses on depicting landscapes of islands and mountains, usually in contact with water, and decorated with live trees and other plants. Like water and land penjing, hòn non bộ specimens can feature miniature figures, vehicles, and structures. Distinctions among these traditional forms have been blurred by some practitioners outside of Asia, as enthusiasts explore the potential of local plant and pot materials without strict adherence to traditional styling and display guidelines.（维基百科）--Zhang Yujie (talk) 12:51, 18 December 2020 (UTC)

Terms and Expressions

• miniature小型的，缩小的
• trimming 修剪
• pruning 剪枝
• the Neolithic Age 石器时代
• pomegranate 石榴
• literali 文人
• clamping 折枝成型

Question

• Have you ever raise any plants?
• How do you know about Bonsai (or Penjing)?
• What about the techniques of raising bonsai?
• From which dynasty, bonsai emerged in China?
• What are the differences about bonsai in China and other countries?

Answers

• Yes, I have raised plants like orange tree in my backyard.
• It is one of the Chinese traditional art forms, whose elements are based on plants and stone.
• We can use the technique named clamping to shape the branches of the plant in order to beautify it.
• The Han Dynasty
• Penjing allows a wider range of tree shapes (more "natural-looking") and by planting them in bright-colored and creatively shaped pots.

References

[1]百度百科：盆景的种类

[2]百度百科：盆景修建技巧，2018，盆栽管

[3]搜狐网：盆景的历史渊源，2017，菖蒲寿石斋

[4]Wekipedia: The difference of Chinese penjing and other countries

Zhang Weihong 张维虹 202070080648 英语口译

Douyin (Tik Tok)

A. Overview of Douyin and Tik Tok

Douyin, (抖音, literally “shaking sound” in Chinese) is a short video media app developed by China’s young tech giant Bytedance (字节跳动). It is a platform for creating and sharing 15-second videos. The contents cover a wide range of topics such as challenges-tackling and funny anecdotes. “It is one of the few applications that has enjoyed wild popularity inside and outside China.” (Hans Tung; 2018:1-2)

In September 2017, the international version of Douyin, Tik Tok, was launched. Although both Douyin and Tick Tok were developed by the same parent company, they are actually not one and the same. “Depending on the types of the app stores, you will only have access to one version of the app, Douyin in Chinese app stores and Tik Tok in overseas ones.” (Wang Ning, 2019: 11-12) The two apps host completely different content, and the content is not shared between them. However, they both offer a wide selection of sounds and song snippets, along with the option of special effects and filters.

What’s more, the mode of both Douyin and Tik Tok is similar. According to Liang’s description of Douyin,“The platform is based on ultra-short, user-posted videos with music. Such clips are lasting only 15 seconds but can be strung together to make 60-second stories.” (Liang Quancun, 2019: 20-21) The app allows users to create, edit, and share short videos as well as livestreams, often featuring music in the background. Contents themed on dances, comedies, babies, food, pets, pranks, and stunts are most welcomed on Douyin. (Tian Fengchang, 2020: 15-17) In their videos, users can interact with the camera and sing at the same time, with songs provided by Douyin’s extensive music library. Showing off dance skills and comedy routines are also popular pastimes on the app.

Unlike most video apps, there is no “play” or “pause” button on Douyin. Once you open the app, a video starts immediately. You scroll through a 15-second stream of videos nonstop, as does how you look through photos on Instagram. Therefore, many people can't help spending most of their spare time on the For You Page. (Liang Quancun, 2019: 20-21)

Unlike other popular Chinese apps like Weibo and WeChat, where you have to actively follow specific accounts to be pushed toward their content, Douyin identifies users’ interests through a powerful recommendation algorithm that tracks the users' preferences through their browser history. This is the way how the algorithm works—anticipating what users will enjoy based on the content they have already engaged with. It also shows content it thinks could go viral. The point is that if the content is good the algorithm will fulfill its "duty", regardless of how many followers the creator has. (Liang Quancun, 2019: 20-21)

B. Comparison Between Tik Tok and Instagram

As what was mentioned before, Tik Tok or Douyin is somehow similar to Instagram. Despite their alike fundamentals, they have their own distinctive features. Differences between them are as follows:

1. Time limit: Tik Tok currently does not support a long-form video. While IGTV, Instagram’s long-form video feature, allows a video length of up to one hour. (Carissa Brones, 2019)

2. Users: Most Tik Tok users are younger than that of Instagram. According to Carissa Brones, “Most Tik Tok users belong to generation Z and most Instagram users belong to generation Y.” (TikTok: Technology Overview and Issues, 2020)

3. Community: Compared to Instagram, the Tik Tok community is distinctly palpable. It allows users to easily connect, build friendships, and collab with each other. Besides, something new and trendy is pushed to the users every week, so as to further increase its attention. Therefore, some creators have identified this supportive environment to grow followers and have left Instagram for Tik Tok. (Carissa Brones, 2019)

C. Popularity and Effects

It’s clear that Tik Tok is making waves in the social app space. With an explosion of growth, Tik Tok is expected to continue a steep upward trend. Several reasons why Tik Tok is so popular include:

1. Localized content - the app often runs local contests and challenges and captures local trends using localized hashtags. Douyin also sends personalised recommendations to each of its users. This ensures that Douyin users are always updated on the latest trending videos and are never out of ideas for video creation. (Wang Ning, 2019: 14-15)

2. Easy content creation, sharing, and viewing - due to the short format, neither the video-creation nor the watching process takes much time or effort. Also, the short-form video content plays as soon as a user opens the app. (Wang Ning, 2019: 14-15)

3. Celebrity endorsements - several celebrities, including Angelababy from China, Jimmy Fallon from American, have helped drive Tik Tok's popularity. (Wang Ning, 2019: 14-15)

There is no doubt that Tik Tok has had an impact on today’s world. It has become prevalent in schools, in the workplace, and in many other public venues. It is quite common to find someone either making a Tik Tok or doing one of the Tik Tok dances. (Wang Ning, 2019: 15-16) Here are some benefits of Tik Tok:

1. Moral Entertainment: The major advantage of Tik Tok is that it serves as a great source of entertainment. Overall, Tik Tok is a great app to help stay entertained, especially during the stress of the pandemic. (Wang Ning, 2019: 20-21)

2. Publicity: With Tik Tok, anyone can create short videos doing anything they choose to do that’s appropriate and legal to ensnare the public interest and become viral in society.

3. Learning New Things: On top of the funny videos and the dancing videos, there are some people that make videos with great opportunities and life tips that can help many people. Also, there are other people like doctors or teachers on Tik Tok utilizing the platform to teach new things every day. (Wang Ning, 2019: 20-21)

4. Providing New Opportunities: With the ongoing pandemic, young students such as high schoolers have been finding remote volunteering and internship opportunities directly from Tik Tok. As an engaging platform, Tik Tok connects determined youths together to volunteer for nonprofits like Chinese Red Cross Foundation or intern for companies. (Wang Ning, 2019: 20-21)

Despite the many benefits of TikTok however, there are negative effects to take into consideration as well. there are as follows:

1. Addiction: Most people scroll through the for you page looking at videos perfectly catered to their tastes through the TikTok algorithm. The app is designed to be addictive, with an unlimited stream of videos at around 30 seconds each, making users hard to get bored. It’s incredibly easy to fall down the TikTok hole and suddenly reemerge hours later only to find have lost an entire day. (Short Video Platform - Douyin)

2. Bullying/Mental Health: While the application can be used to spread positivity, it can also be used as a platform for bullying. Some people criticize other people’s videos, while others create videos for deriding someone. This leads to a negative impact on the mental health of everyone involved, thus resulting in life-threatening situations and decisions. (Short Video Platform - Douyin)

3. Unsafe: On TikTok, there are no restrictions as to who can join the app, so strangers can easily message children and create harmful situations. (Short Video Platform - Douyin)

In a nutshell, TikTok is a fun, entertaining, and addictive app which has seen a surge in popularity in the last few months. The Tik Tok app also has the potential to become the next big social networking platform. However, the app also aroused lots of concerns like addiction, mental health and unsafe issues. (Tian Xiaofang, 2019)

Terms and Expressions

Tik Tok (Douyin) 抖音

ByteDance 字节跳动

Short video platforms 短视频平台

Recommendation algorithm 推荐算法

Celebrity endorsements 名人代言

Chinese Red Cross Foundation 中国红十字基金会

Mental health 心理健康

Questions and Answers

Q1. What is Tik Tok？

Q2. What is different between Douyin to Tik Tok?

Q3. Why Tik Tok is so popular around the world?

Q4. What are the benefits of Tik Tok?

Q5. What are the concerns about Tik Tok?

A1: Tik Tok is a short-form, video-sharing app that allows users to create and share 15-second videos on any topic.

A2: They are two different versions that can be downloaded in different regions -- Douyin in China, and Tik Tok overseas.

A3: Celebrity endorsements, Localized content, Easy content creation, sharing, and viewing.

A4: Tik Tok can bring moral entertainment and publicity providing new opportunities. Additionally, People can learn new things.

A5: Many worried that Tik Tok is addictive, bad for mental health, and unsafe.

References

• Carissa Brones. Instagram vs. Tik Tok: App Battle 2019

• Hans Tung. 8 Lessons from the Rise of Douyin. 2018

• Liang Quancun梁全存.“抖音”短视频发展战略研究[Research on the Development Strategy of Tik Tok ][D].北京:北京交通大学[Beijing Jiao Tong University],2019.

• Tian Fengchang, Huang Xiaozhang 田丰畅，黄孝章. 基于SWOT分析的抖音短视频研究[Research of SWOT Analysis Based on Tik Tok][J].中国商论[China Business], 2020(22):15-17.

• Tian Xiaofang 田小芳. 从传播学角度分析抖音短视频的爆红[Analysis of the popularity of Tik Tok from a communication perspective ] [J].现代营销(信息版),[ Modern Marketing (Information Edition),] 2019(06):214-215.

• TikTok: Technology Overview and Issues, 2020

• WANG N. Data story of Tiktok[J]. 2019.

• Wu W. Chinese Animation, Creative Industries, and Digital Culture[M]. Routledge, 2017.

• Xiao B, Koetse M. Chinese Arts Students into Panic Mode after Failing to Register for Exams Amid Announced Reforms[J].

• Xing Lu, Lu ZHicong, 2019, Fifteen Seconds of Fame: A Qualitative Study of Douyin, A Short Video Sharing Mobile Application in China

Zhang Yinliu 张银柳 202070080649 英语口译

Four Buddhist Shrines

Buddism is one of the most important religions in China. As the introduction of Buddhism from India in Han Dynasty, China initiated temple construction and sites of enlightenment and continues today. The Buddhist culture in China went through long history of growth and prosperity,which ultimately turns into historical appeal and cultural charm together with the attractive natural scenery where they pullulated and achieved fame throughout the world. Among the numerous famous Buddha Mountains in China, the most sacred four called Four Buddhist Shrines, are known as Gold Wutai, Silver Putuo, Copper Emei and Iron Jiuhua respectively for they believed to be the holy seats Manjusri Bodhisattva, Avalokitesvara, Samantabhadra Bodhisattva and Ksitigahba Buddhisattva reincarnated to tame certain beings.(Gan Shude, 1998)

Mount Wutai

Gold Wutai, also called Wutaishan, Mount Wutai, or Mount Qingliang in Chinese, is a National Natural and Cultural Heritage, National Geopark, as well as the only Buddhist sanctuary Chinese Buddhism and Tibetan Buddhism coexist in perfect harmony. Mount Wutai is located in Wutai County, Xinzhou City, Northeast of Shanxi province in China and is called the top buddhist holy land. Mount Wutai tops the four great mountains of Buddhism for its long history and grandness of temples. It also known as one of the Top 5 Buddhism shrines in the world with Lumpini in Nepal and Sarnath, Buddha-gaya and Kushinagar in India. It is the ashram of Manjusri Bodhisattva who is the god of wisdom in China. Buddhism propagated into Mount Wutai from the Eastern Han Dynasty and culminated in Southern and Northern Dynasty when emperors extended temples on a large scale to over 200. The second blossom of Buddhism came during the flourishing Tang Dynasty during which there were more than 30,000 Buddha statues made. There are five main peaks of Wutai Mountain, including Wanghai Peak, Yedou Peak, Guayue Peak, Splendid Peak and Cuiyan Peak. A large number of temples which are the treasury of precious cultural heritage attract thousands of tourists every year,including Xiantong Temple, Nanchan Temple, Foguang Temple and etc. The Great White Tower is the most famous symbol of Mount Wutai lying in Tayuan Temple. （Lu Yao 2011,87）

Mount Putuo

Silver Putuo, ashram of Avalokiteśvara ( Goddess of Mercy), lies in a 13 square kilometers small island of Zhejiang Province in southeast China. Silver Putuo,also named Mount Putuo, owns the honor of Buddhist Kingdom on the Sea. It is a National 5A Tourist Resort and a world excellent ecological scenic spot with charming island scenery and unique Buddhist charisma of temples, sculptures and etc. Taoism is the earliest religion cultivated on Mount Putuo 2,000 years ago from Qin Dynasty. And Buddhism only get spread on Mount Putuo in Tang Dynasty and later rose to the peak during later Qing Dynasty and the Republic of China, the largest Buddhist Kingdom of ancient China with over 4,000 monks. The three main sacred Buddhist temples are Puji Temple which is the Buddhism center of important Buddhist fairs on Mount Putuo and the biggest temple worshipping Goddess of Mercy on foothill, Fayu Temple which is the second largest temple in most noble and delicate decoration on hillside, and Huiji Temple which is a beautiful garden style temple located the highest on hilltop. The Purple Bamboo Woods is an tourist-attractive scenery point where popele can enjoy the picturesque landsacape around and experience the Buddhist culture. （Jing Tianxing, 2008）

Mount Emei

Copper Emei refers to Mount Emei in Sichuan province. It is the ashram of Samantabhadra Bodhisattva who is the god of practice in China. Mount Emei usually refers to the Da’e Peak of Mount Emei Scenic Area, the highest peak among the four most sacred Buddhist mountains. It is listed both as the World Cultural and Natural Heritage among the four Buddhist mountains. By the middle of 1st century, Buddhism spread into Mount Emei from India though Silk Road. Then Wannian Temple (previously known as Puxian Temple) was constructed in the 3rd century, and more than 100 Buddhist temples were built afterwards, making Sichuan a Buddha center for a time. The giant bronze statue of Samantabhadra Bodhisattva in Wannian Temple was casted after a Buddhists group learnt Buddhism from India in Song Dynasty. Mount Emei is not only famous for its Buddhist treasures and precious cultural relics, but also for its four great natural spectacles of sunrise, clouds sea, golden summit and light of Buddha from the mountaintops at Golden Summit. Just the same as other Buddhist shrines, there are many temples such as Baoguo Temple, Wannian Temple, Fuhu Temple...(Gan Shude,1998）

Mount Jiuhua

Iron Jiuhua refers to Mount Jiuhua in Southern Anhui province. It is known as the shrine Ksitigarbha Buddha who is the god of willingness and one of the four most sacred Buddhist mountains in China. It was initially named Mount Jiuzi and was latter renamed to Mount Jiuhua according to a poem by great poet Li Bai during Tang Dynasty - nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. The first religion developed in Mount Jiuhua was Chinese Taoism. Until the middle and late of Tang Dynasty, Buddhism was gradually accepted and spread in Mount Jiuhua along with construction of more Buddhist temples. There are 78 sites which contains precious Buddhist statues, scriptures and antiques, including Huacheng Temple which is the ashram of Ksitigarbha Bodhisattva as well as the ancestral temple of longest history, Tiantai Temple, Longevity Palace, Zhiyuan Temple and etc.（Chen chi,2004）

Terms and Expressions

Buddhist adj.佛教的

Buddhism n.佛教

shrine n.圣地

pullulate v.大量产生

Gold Wutai 金五台

Silver Putuo 银普陀

Copper Emei 铜峨眉

Iron Jiuhua 铁九华

Manjusri Bodhisattva 文殊菩萨

Avalokitesvara 观音菩萨

Samantabhadra Bodhisattva 普贤菩萨

Ksitigahba Buddhisattva 地藏菩萨

reincarnate v. 使转世，使化身

ashram n. 修行的住所

Lumpini n. 蓝毗尼

Sarnath n. 鹿野苑

Buddha-gaya n. 菩提伽耶

Kushinagar n. 拘尸那罗

Wanghai Peak 望海峰

Yedou Peak 叶斗峰

Guayue Peak 挂月峰

Splendid Peak 锦绣峰

Cuiyan Peak 翠岩峰

Xiantong Temple 显通寺

Nanchan Temple 南禅寺

Foguang Temple 佛光寺

The Great White Tower 大白塔

Puji Temple 普济寺

Fayu Temple 法雨寺

Huiji Temple 惠济寺

The Purple Bamboo Woods 紫竹林

Wannian Temple 万年寺

Baoguo Temple 报国寺

Fuhu Temple 伏虎寺

Golden Summit 金顶

Huacheng Temple 化城寺

Tiantai Temple 天台寺

Longevity Palace 百岁宫

Zhiyuan Temple 祗园寺

nimbus is divided to two kinds, sacred mountain generates nine glories to praise the beauty of Mount Jiuhua. -By Li Bai

妙有分二气，灵山开九华。—李白

Questions

1.What are the Four Buddhist Shrines or the Four Sacred Buddhist Mountains ?

2.Which bodhissattvas' holy seats are the four mountains belong to respectively?

3.Which provinces are the Four Buddhist Shrines in respectively?

4.What are the top five Buddhist shrines in the world?

5.Among the Four Buddhist Shrines, which one has the honor of "The Buddhist Kingdom on the Sea"?

6.Among the Four Buddhidt Shrines, Whose name is related with the Poet Libai?

6.Among the Four Buddhidt Shrines, Whose name is related with the Poet Li Bai?--Jiang Fengyi (talk) 10:10, 19 December 2020 (UTC)

Answers

1. They are Mount Wutai, Mount Putuo, Mount Jiuhua, Mount Emei.

2. They are Manjusri Bodhisattva, Avalokitesvara, Samantabhadra Bodhisattva and Ksitigahba Buddhisattva.

3. Mount Wutai is in Shanxi province. Mount Putuo is in Zhejiang province. Mount Emei is in Sichuan province. Mount Jiuhua is in Anhui province.

4. Mount Wutai in China, Lumpini in Nepal, and Sarnath, Buddha-gaya and Kushinagar in India.

5. Mount Putuo.

6. Mount Jiuhua.

References

1.Gan Shude 干树德.(1998).“中国佛教四大名山”之说由何而来?[J] Where did the Theory of "Four Famous Mountains of Chinese Buddhism" Come from? Knowledege of Literature and History 文史知识,1998(02):76-81.

2. Lu Yao 路遥. (2011).《四大菩萨与民间信仰》 The Four Bodhisattvas and Folk Belifes. Shanghai People's Publishing House 上海人民出版社.

3. Jing Tianxing 景天星. (2019).汉传佛教四大菩萨及其应化道场演变考述[J] Research on the Four Great Bodhisattvas and the Evolution of Their Shrines. World religion studies世界宗教研究 2019(04):60-70.

4. https://www.chinadiscovery.com/articles/four-sacred-buddhist-mountains-in-china.html

5.Chen Chi 陈迟.(2014) 《明清四大佛教名山的形成及寺院历史变迁》The Formation of the Four Famous Buddhist Mountains in Ming and Qing Dynasties and the Historical Changes of Temples博士学位论文Doctoral Dissertation, Tsinghua University 清华大学.

--Zhang Yinliu (talk) 03:05, 21 December 2020 (UTC)

Ancient Science and Technology, Compass - 张瑜 Zhang Yu, 202070080625, MTI英语笔译

Compass

Compass, together with papermaking, gunpowder and printing was referred to the Four Great Inventions, celebrated in Chinese culture for their historical significance. Compass, as one of the advanced scientific technologies in ancient China, has made great contributions to the navigation undertaking both in China and the rest of the world. China was the first one to find the magnetism that could guide the polarity, use the polarity in the earth's magnetic field and invent the instrument that could guide the directions (Lu and Huang 1995,1). The earliest reference to magnetism in Chinese literature, Devil Valley Master, was found in the 4th century BC. It recorded that "The lodestone makes iron come, or it attracts it" (China's Foreign Trade 2012，94).

The earliest south-pointing device appeared in the Warring States Period. It seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth bronze plate. When it stopped, the handle of the spoon would guide the South. Therefore, people all called it "south-governor" or Si Nan. However, in the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects. Therefore, the south-governor has not been applied in a wide range. (Lu and Huang 1995,3-4)

In the Song Dynasty, the book Wu Jing Zong Yao (General Military Principles), written by Zeng Gongliang and Ding Du in 1044, recorded a magnetic device used as a "direction finder", called "south-pointing fish". It made by thin iron slice and was magnetized by the earth's magnetic field. When people made use of it, they could float it in a bowl of water to guide the south. The device was recommended as a means of orientation "in the obscurity of the night". Although it effectively avoided the shortcomings of the south-governor, the magnetism acquired from the magnetic field was weak, resulting in the decrease in practical values. (Lu and Huang 1995,4)

In the South Song Dynasty, the book Dream Pool Essays written by Shen Kuo recorded the first magnetic needle compass, which was the combination of the magnetic needle and plate. This kind of compass had meridian indicator needle, which directed the south and the north. There are two types of magnetic needle compass, that is wet suspension compass and dry suspension compass. The wet suspension compass was used with its needle floating on the water (Lu and Huang 1995,11). And the dry suspension compass was a wooden frame crafted in the shape of a turtle hung upside down by a board, with the lodestone sealed in by wax. When floating, the needle at the tail would always point at the northern cardinal direction. (China's Foreign Trade 2012，94)

Compass, as a tool for guiding the direction, has played an important role in people's daily life and in the navigation undertaking. At the beginning, the compass was used for geomancy (prognostication) to determine the best location and time for things such as burials and weddings. It is recorded that Qin emperor used a diving board and compass in his royal court to affirm his right to the throne. The original shape of the compass led people to believe that the square plate symbolized the earth and the round disc symbolized the heaven. And around the round disc, there engraved the Eight Trigrams, the 24 directions (based on the constellations) and the 28 constellations (based on the constellations dividing the Equator). Although the geomancy was a superstition, the compass was endowed with the wishful thinking of the people. Nowadays many people still use the concept of Feng Shui to decide the location of buildings and enterprises as well as the auspicious time for open ceremonies. (China Week 2003,35)

Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings. However, relying on the celestial phenomena posed another problem. When the navigators met the rainy days, they were unable to distinguish the directions according to the celestial phenomena. The appearance of compass made up for the defect. The compass used for navigation started from the end of Northern Song Dynasty. In the Ming Dynasty, it was with the compass that the navigator, Zheng He, could made seven voyages to the western countries. The voyages expanded the foreign trade and promoted the exchanges of economy and cultures between China and western countries. The compass has played an important role in providing guidance.(Lu and Huang 1995,12-13)

The compass was introduced to the Arab world and Europe during the Northern Song Dynasty (China Week 2003,35). After the compass entered into the Europe, the Europeans further improved the compass and invented the dry compass with fixed support. Until the 16th century, they invented the gimbal to keep the dry compass in a horizontal level. The application of compass in Europe promoted the coming of the age of sail. The great philosopher Marx pointed that Europe opened the global market and established the colony via the compass.(Lu and Huang 1995,16)

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

References

• "FOUR Great Inventions" [四大发明]. China's Foreign Trade [《中国外贸》].China Academic Journal Electronic Publishing House [中国学术期刊电子出版社].05(2012).
• "Compass, One of the Four Great Inventions of Ancient China" [指南针——中国四大发明之一]. China Week [《中华周刊》]. China Academic Journal Electronic Publishing House [中国学术期刊电子出版社].04(2003).
• 鲁才全Lu Caiquan，黄惠贤Huang Huixian. 《中华文明光耀寰宇 中国古代的“四大发明”及中华医药学》 [Chinese Civilization Shines in the World, The "Four Great Inventions" and Traditional Chinese Medicine]. 武汉：武汉大学出版社 [Wuhan University Press].1995.

Terms and Expressions

• Four Great Inventions 四大发明
• Devil Valley Master 鬼谷子
• lodestone 天然磁石
• south-governor 司南
• Wu Jing Zong Yao (General Military Principles) 《武经总要》
• Zeng Gongliang 曾公亮
• Ding Du 丁度
• south-pointing fish 指南鱼
• Dream Pool Essays 《梦溪笔谈》
• wet suspension compass 水罗盘
• dry compass 旱罗盘
• Eight Trigrams 八卦
• gimbal 常平架

Questions

• What's the earliest reference to magnetism in Chinese literature?
• When did the earliest south-pointing device appear?
• Why had the south-governor not been applied in a wide range?
• What are the differences between the south-governor and the south-pointing fish?
• What are the two types of magnetic needle compass?
• What's the symbol of the original shape of the compass?
• What did the navigator depend on before the invention of the compass?

Answers

• The earliest reference was Devil Valley Master, found in the 4th century BC.
• In the Warring States Period.
• In the process of making the south-governor, the lodestone was easy to lose its magnetism due to vibration. Besides, when rotating on the plate, it produced huge friction and resistance, which affected its effects.
• The south-governor seemed like a spoon made by lodestone. With round bottom, it could rotate freely in the smooth plate. When it stopped, the handle of the spoon would guide the South. While the south-pointing fish was made by thin iron slice and was magnetized by the earth’s magnetic field. When people made use of it, they could float it in a bowl of water to guide the south.
• Wet suspension compass and dry suspension compass.
• The square plate symbolizes earth and the circular disc symbolizes heaven.
• Before the invention of compass, navigators usually depended on the positions of the sun, the moon and the polestar to take their bearings.--Zhang Yu (talk) 12:46, 20 December 2020 (UTC)

Strange Stories from a Chinese Studio Zhang Yujie张毓婕

Strange Stories from a Chinese Studio, abbreviated as "Liao Zhai", is a collection of short stories in classical Chinese created by Chinese Qing Dynasty novelist Pu Songling. The earliest copy of it can date back to the Kangxi period of the Qing Dynasty.

1. The Introduction of the Author-Pu Songling

Pu Songling was born in a scholarly family. In his early years, he wanted to take part in the imperial examinations to become an official. Unfortunately, after repeated attempts, he could only make a living by teaching. He had been interested in folk stories about ghosts and gods since he was a child. In order to collect materials, Pu Songling once opened a teahouse in front of his home. People who come to drink tea can use a story to replace tea money. Each time he was told a wonderful story, Pu Songling would polish it after he went home. In this way, Pu Songling collected a large number of bizarre stories, and after sorting and processing, he included many of them in Strange Stories from a Chinese Studio.

Pu Songling was born in a scholarly family. In his early years, he wanted to take part in the imperial examinations to become an official. Unfortunately, after repeated attempts, he could only make a living by teaching. He had been interested in folk stories about ghosts and gods since he was a child. In order to collect materials, Pu Songling once opened a teahouse in front of his house. People who come to drink tea can use a story to replace tea money. Each time he was told a wonderful story, Pu Songling would polish it after he went home. In this way, Pu Songling collected a large number of bizarre stories, and after sorting and processing, he put many of them in Strange Stories from a Chinese Studio --Zhang Peiwen (talk) 07:02, 19 December 2020 (UTC)

2. Contents and Themes

The whole book of Strange Stories from a Chinese Studio has nearly 500 chapters which can be divided into three types:

One is the love story, which occupies the largest proportion of the book. Most of the main characters in these stories are not afraid of feudal ethics and bravely pursue free love. Representative works of this type include Lotus Fragrant, Xiao Xie, Lian Cheng, Huan Niang, Crow Head and so on. The second is to criticize the imperial examination system for its destruction of scholars. Ye Sheng, Si Wen Lang, Yu Qu E and Wang Zian are all such works. The third is to expose the brutality of the ruling class and their oppression of the people, which is of great social significance, such as Xi Fangping, Promoting Weaving, Dream Wolf, and Mei Girl.

In despair, Pu Songling expressed his desire for a better future with fantasy fairies, ghosts and fox spirits. He reflected the real life and put forward many important social problems. He strongly criticized the shortcomings of the examination system, the spirit of feudal ethics, and supported for free love.

The whole book of Strange Stories from a Chinese Studio has nearly 500 chapters which can be divided into three types:

One is the love story, which occupies the largest proportion of the book. Most of the main characters in these stories are not afraid of feudal ethics and bravely pursue free love. Representative works of this type include Lotus Fragrant, Xiao Xie, Lian Cheng, Huan Niang, Crow Head and so on. The second is to criticize the imperial examination system for its destruction of scholars. Ye Sheng, Si Wen Lang, Yu Qu E and Wang Zian are all such works. The third is to expose the brutality of the ruling class and their oppression of the people, which is of great social significance, such as Xi Fangping, Promoting Weaving, Dream Wolf, and Mei Girl.

Pu Songling himeself suffered from his repeated failure in the imperial examination. In despair, Pu Songling expressed his desire for a better future with fantasy fairies, ghosts and fox spirits. He reflected the real life and put forward many important social problems. He strongly criticized the shortcomings of the examination system, the spirit of feudal ethics, and supported for free love.--Zhang Peiwen (talk) 07:10, 19 December 2020 (UTC)

3. A Typical Story

Qiao Sheng, a native of Jinning(a place in Yunnan province), was a honest young man with outstanding talents. At that time, a wealthy middle-aged man wanted to choose a son-in-law for his daughter, Lian Cheng. Although Qiao Sheng was very poor, he was appreciated by Lian Cheng because of his integrity and talents, but Lian Cheng was forced to be engaged to the son of a salt merchant. Soon afterwards Lian Cheng got a strange disease and the only way to save her was to make a kind of medicine with an adult man's chest meat. Lian Cheng’s father was extremely worried and promised to marry his daughter to whoever agreed to save her. Without hesitation, Qiao Sheng came to Lian Cheng and cut off the meat from his chest. But after Lian Cheng recovered from her illness, her father broke his word and refused to marry Lian Cheng to Qiao Sheng. In a few months, Lian Cheng died of sadness. Qiao went to mourn before her death, and also died of excessive grief. In the underworld, the two met again. With the help of a friend, Qiao Sheng and Lian Cheng both came back to life. However, the salt merchant bribed the judge and he sentenced Lian Cheng to marry the son of the salt merchant. Lian Cheng did not eat and drink at the salt merchant’s home, and she even tried to hang herself. The salt merchant had no choice but to let Lian Cheng go home. In the end, Qiao Sheng and Lian Cheng had a happy ending.

Qiao Sheng, a native of Jinning(a place in Yunnan Province), was a honest young man with outstanding talents. At that time, a wealthy middle-aged man wanted to choose a son-in-law for his daughter, Lian Cheng. Although Qiao Sheng was very poor, he was appreciated by Lian Cheng because of his integrity and talents, but Lian Cheng was forced to be engaged to the son of a salt merchant. Soon afterwards Lian Cheng got a strange disease and the only way to save her was to make a kind of medicine with an adult man's chest meat. Lian Cheng’s father was extremely worried and promised to marry his daughter to whoever agreed to save her. Without hesitation, Qiao Sheng came to Lian Cheng and cut off the meat from his chest. But after Lian Cheng recovered from her illness, her father broke his word and refused to marry Lian Cheng to Qiao Sheng. In a few months, Lian Cheng died of sadness. Qiao went to mourn before her death, and also died of excessive grief. In the underworld, the two met again. With the help of a friend, Qiao Sheng and Lian Cheng both came back to life. However, the salt merchant bribed the judge and he sentenced Lian Cheng to marry the son of the salt merchant. Lian Cheng did not eat and drink at the salt merchant’s home, and she even tried to hang herself. The salt merchant had no choice but to let Lian Cheng go home. In the end, Qiao Sheng and Lian Cheng had a happy ending.--Zhang Peiwen (talk) 07:23, 19 December 2020 (UTC)

4. Features of the Book

4.1 The stories are bizarre and full of changes. The author uses fairies and ghosts to describe the human society, making the novels mysterious and bizarre. What’s more, readers are captivated by the twist and turn of the plot.

4.2 Making the plants and animals full of natural characters and the features of the human. The heroines of these novels have both human thoughts and feelings as well as the features of animal’s appearance. The author perfectly unifies the two to achieve the effect of "forgetting to be alien".

4.3 The languages are concise and comprehensive, pregnant with meaning widely.

4.4 Using a lot of descriptions of environment, appearance, and mentality as well as vivid languages to create distinctive characters. For example, Ying Ning, a female character in the book, was living in a courtyard with lively birds and the fragrance of colorful flowers, and her living room was bright and clean. The environment was in harmony with her beautiful appearance and innocent temperament.

4.1 The stories are bizarre and full of changes. The author uses fairies and ghosts to describe the human society, making the novels mysterious and bizarre. What’s more, readers are captivated by the twist and turn of the plot.

4.2 Making the plants and animals full of natural characters and the features of the human. The heroines of these novels have both human thoughts and feelings as well as the features of animal’s appearance. The author perfectly unifies the two to achieve the effect of "forgetting to be alien".

4.3 The languages are concise and comprehensive, pregnant with meaning.

4.4 Using a lot of descriptions of environment, appearance, and mentality as well as vivid languages to create distinctive characters. For example, Ying Ning, a female character in the book, was living in a courtyard with lively birds and the fragrance of colorful flowers, and her living room was bright and clean. The environment was in harmony with her beautiful appearance and innocent temperament.--Zhang Peiwen (talk) 07:25, 19 December 2020 (UTC)

Terms and Expressions

teahouse 茶馆

scholarly family书香世家

imperial examination 科举制度

underworld 阴曹地府

fox spirit 狐妖

salt merchant 盐商

forgetting to be alien 忘为异类

Questions

1.How many chapters are there in the Strange Stories from a Chinese Studio?

2.How did Pu Songling collect stories from others?

3.Do you know the types of the stories in this book?

4.Please list some representative works of love story in this book.

5.In the typical story, when Lian Cheng was ill, what was the only way to save her?

6.Could you please list one or two features of the book?

Answers

1. Nearly 500.

2. Pu Songling opened a teahouse in front of his home and let people who come to drink tea use a story to replace tea money.

3. One is love story, the second is to criticize the imperial examination system and the third is to expose the brutality of the ruling class and their oppression of the people.

4. Lotus Fragrant, Xiao Xie, Lian Cheng, Huan Niang, Crow Head.

5. The only way to save her was to make a kind of medicine with an adult man's chest meat.

6. The stories are bizarre and full of changes. The author uses fairies and ghosts to describe the human society, making the novels mysterious and bizarre. What’s more, readers are captivated by the twist and turn of the plot.

Making the plants and animals full of natural characters and the features of the human. The heroines of these novels have both human thoughts and feelings as well as the features of animal’s appearance. The author perfectly unifies the two to achieve the effect of "forgetting to be alien".

The languages are concise and comprehensive, pregnant with meaning widely.

Using a lot of descriptions of environment, appearance, and mentality as well as vivid languages to create distinctive characters. For example, Ying Ning, a female character in the book, was living in a courtyard with lively birds and the fragrance of colorful flowers, and her living room was bright and clean. The environment was in harmony with her beautiful appearance and innocent temperament.

Four Main Philosophic Schools-张宇星 Zhang Yuxing 202070080650 MTI 英语口译

Confucianism

In the Pre-Qin period, scholars from different schools were gathering together to share their opinions toward the same issues and tried to figure out the best way to solve problems at that time, forming a famous situation of “One-hundred schools of thought”. Among them, Confucianism, with representative figures of Confucius, Mencius and Xunzi, was prominent and has caught many attentions (Chen Jianhua, 2020, 43). Even at present, it is also one of the most important schools with far-reaching influence in Chinese history of thought.

Confucius is the founder of Confucianism. Living in the Spring and Autumn Period with many contradictions in the society, Confucius acknowledged those turbulences and wars threatening the traditional culture as more and more common people suspected, even criticized, the traditional culture, therefore, Confucius aimed to rebuild the balance in mind and seek for the new harmony in the society by reshaping people’s mind, which was the general background of the emergency of Confucianism (Liu Shiyu, 2018, 80). However, to establish a school and cure people’s mind is a tough work, especially at that time, as Emperor Shi Huangdi promoted legalism and prohibited Confucianism. In order to govern the whole nation, unified mind was essential, so the emperor even buried many disciples committed to Confucianism and incinerated many masterpiece, causing profoundly negative effect, which was famous as “Burning of Books and Burying of Scholars” (“焚书坑儒”).

However, as Confucianism was the treasure of traditional Chinese culture consisting quite a few thoughts with far-reaching meaning in our life, it was boasted by Dong Zhongshu in Han Dynasty. As Confucianism had some flaws in Pre-Qin Dynasty, Dong Zhongshu integrated part of thought from Legalism and Daoism to further its development (Ren Anjing, 2020, 54), and applied it in the governance. Since then, the model of governing the country with Confucian ethics and morality as the center, with the strict punishment of the jurist as the auxiliary with Taoist power politics as the means, basically conformed to the national conditions of ancient China, and became the ruling class of all dynasties to pursue the unchanged rule of the country.

In Confucianism, benevolence stands in the center. It proposes that the governor should love and be kind to his people. Only in that way, he could govern the whole nation as long as possible and the nation could survive whatever disaster it encountered as well. In our daily life, Confucianism has its cues in every part of life, and we also advocate Confucianism and regulate our behaviors according to it.

Taoism or Daoism

Taoism also named for Daoism. Its representative figures are world-renowned Chinese thinkers: Lao-Tzu and Zhuang Zhou. There are quite a few famous masterworks of Taoism, among which the most famous is Tao Te Ching (《道德经》) (Song Liyan, 2020, 10). Although Confucianism has far-reaching influence on Chinese society, Daoism also stands prominently in the history of Chinese thought as it has the deepest influence on the development of Chinese philosophy, literature, science and technology, art, music, health, religion and so on, so we need to know it comprehensively.

First, the same with Confucianism, Taoism also emerged in the Pre-Qin Dynasty and was part of “One-Hundred School of Thoughts (百家争鸣)”. And in the Spring and Autumn Period, Lao-Tzu concluded the quintessence of scattered thoughts about Daoism into a systematic thought, which symbolizes the form of Daoism. After Lao-Tzu, the school of Daoism was divided into different part, with Huang-Lao Thought being the most famous among others. Then, Lu Buwei compiled “Lü shih ch'un ch'iu” (《吕氏春秋》), also referred to The Annuals of Lu Buwei, which set Daoism as its main thought and integrated other schools, landing the preparation for the great unity then(Ren Anjing, 2020, 55).

However, after the foundation of Qin-Dynasty, Emperor Shi Huangdi turned to Legalism. In the Han Dynasty, the governor selected Daoism as the official thought to unify the whole nation, which symbolized the its resurgence, and even Dong Zhongshu absorbed the positive points of Daoism and integrated them into Confucianism in his governance. When it came to Sui and Tang Dynasty, Daoism became prominent once again as Wang Yangming and other important figures combined its thought with Buddhism. At present, the thought of Daoism also present in our life, especially in management and business.

Legalism

Legalism is a famous school of thought in Chinese history with the rule of law at its core. Unlike Confucianism and Daoism, people promoting Legalism are not only ideologists, but also activists focusing on the practical use of laws or regulations.

Legalism was born quite late, but it came to take its form very quickly as Emperor Shi Huangdi initiated the period of governing the country according to the rule of law, falling into the category of Legalism. Since then, each monarch, to some extent, follows this principle. In this way, Legalism keeps its status and influences Chinese governance greatly (He Lele, 2020, 59). Even at present, we still promote the rule of law as it can ensure the fairness and justice of the judgment and safeguard the common people at large. Legalism advocates clear rewards and punishments according to laws and regulations. To that end, Provisions should not be set arbitrary, rather, it should be clear and explicit with official formulation, and governments are responsible for informing common people so as to ensure that everyone has known that and would follow regulations.

Mohism

Mohism, also referred to Moism and developed by academic scholars studying under the leadership of ancient Chinese philosopher Mozi, was one of the four main philosophic schools from around 770–221 BC (during the Spring and Autumn and Warring States periods), about the same time as Confucianism, Taoism and Legalism. Different from three schools listed above, Mohism focuses on natural science and logic, rational thought (Chen Jun, 2020, 145). A tradition of Mohism, a disciplined group, goes that disciples in official states, wherever he is, should promote the school’s proposition in his or her official states, and their salary must also be dedicated to the group. The development of Mohism has former and later period with different focus. The early thought mainly involves the social politics, ethics and the ideology, paying attention to the present world war, and the latter contributed greatly in logic, closer to the field of scientific research. The main ideas of Mohism are equal love between people (Jian Ai) and against the war of aggression (Fei Gong). They also advocate economy, oppose waste (Jie Yong), attach importance to inheriting the cultural wealth of their fore-owners (Ming Gui), master the laws of nature (Tian zhi) and so on.

During the Warring States Period, Mohism mastered many practical techniques which were useful for the development of society, so it has attracted quite a few people to follow him. Even at present, it is widely accepted that top two influential schools of thought fall in Confucianism and Mohism (Zhou Baoyan, 2020, 53). However, as Mohism promoted itself political status, many monarchs oppressed its development. Gradually, it lost the foundation of survive and came to extinct. Scholars failed to re-dig out the its precious thoughts from historical records until the end of the Qing Dynasty, After the arduous efforts of its disciples in recent years, the basic growing course has been found out, and the theories and thought appeared to recover and catch many scholars’ attention with self-advancement.

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--Zhang Yuxing (talk) 12:38, 20 December 2020 (UTC)

Ancient Writing and Painting Tool, Writing Brush - Zhao Xi 赵茜 202070080627 英语笔译

A. Writing Brush

Writing brush is a writing and painting tool originated from China and is one of the four treasures of the study, writing brushes, ink sticks, paper and inkstones. Its history dates back to the Neolithic Age, which has been 5000 or 6000 years up to now. However, the physical object of writing brush was found in a Chu tomb in the Warring States periods. (Du Xiaofeng 2019, 31)

Writing brush, a writing and painting tool originated from China, is one of the four treasures of the study which also includes writing brushes, ink sticks, paper and inkstones. Its history dates back to the Neolithic Age, which has been 5000 or 6000 years up to now. However, the physical object of writing brush was found in a Chu tomb in the Warring States periods. (Du Xiaofeng 2019, 31)--Li LIli (talk) 03:11, 17 December 2020 (UTC)Li Lili

In the Qin dynasty, writing brush had its own basic model. It is said that the General Meng Tian in the Qin dynasty who was a supervisor of the construction of the Great Wall invented the writing brush. Therefore, in the hometown of writing brush --- Hengshui, Hubei province and Huzhou, Zhejiang province, people commemorate and celebrate the invention of writing brush by making dumplings and drinking on the 3rd of the 3rd lunar month. (Yan Hao 2012, 14)

In the Qin dynasty, writing brush had its own basic model. It is said that the General Meng Tian in the Qin dynasty who was a supervisor of the construction of the Great Wall invented the writing brush. Therefore, in the home of writing brush --- Hengshui of Hubei province and Huzhou of Zhejiang province, people commemorate and celebrate the invention of writing brush by making dumplings and drinking on the third day of the third lunar month. (Yan Hao 2012, 14)--Li LIli (talk) 03:36, 17 December 2020 (UTC)Li Lili

In the Han dynasty, as the calligraphy grew vigorously, the making technique of writing brush has become more mature. The development of calligraphy promoted the shape of writing brush with excellent workmanship and started to pursue the decoration except for its function. The diameter of the pen-holder was from thick above to thinner below.It was no longer just a writing and painting tool, but an object worthy of appreciating and collecting. What's more, writing brush-making industry came into being and grew gradually which made writing brush-making as a professional technology. Compared with the Qin dynasty, the writing brush in the Han dynasty was made more exquisite as people paid more attention to the comfort and feeling when they used it to write or paint.

In the Han dynasty, as the calligraphy grew vigorously, the making technique of writing brush has become more mature. The development of calligraphy promoted the shape of writing brush with excellent workmanship and started to pursue the decoration except for its function. The diameter of the pen-holder was from thick above to thinner below.It was no longer just a writing and painting tool, but an object worthy of appreciating and collecting. What's more, writing brush-making industry came into being and grew gradually, which made writing brush-making as a professional technology. Compared with the Qin dynasty, the writing brush in the Han dynasty was made more exquisite as people paid more attention to the comfort and feeling when they used it to write or paint.(Quote is missing)--Li LIli (talk) 05:19, 17 December 2020 (UTC)Li Lili

In the Wei and Jin dynasties, the process of making writing brush was fundamentally similar to that in the previous dynasties. It only had little difference in the length and diameter of pen-holder for the user's convenience.(Du Xiaofeng 2019, 35)

The Sui and Tang dynasties were the flourishing period when the writing brush-making industry developed rapidly in Xuanzhou. In the Tang dynasty, the first professional producing place of writing brush came into being in the history, which made Xuanzhou of Anhui province play a role as the center of writing brush manufacturing all over the country. There were two masters of making writing brush. One was Mr.Chen and the other was Mr.Zhuge. The brushes produced in this place were called Xuan Chinese writing brushes and were much loved by writers, calligraphers, emperors and ministers. Materials for their head mainly was rabbit hair. For the selected superior material and exquisite workmanship, the writing brushes became tributes to the imperial household. (Du Xiaofeng 2019, 36)

The Sui and Tang dynasties were the flourishing period when the writing brush-making industry developed rapidly in Xuanzhou. In the Tang dynasty, the first professional producing place of writing brush came into being, which made Xuanzhou of Anhui province become the center of writing brush manufacturing across the country. There were two masters of making writing brush. One was Mr.Chen and the other was Mr.Zhuge. The brushes produced in this place were called Xuan Chinese writing brushes and were much loved by writers, calligraphers, emperors and ministers. Materials for their head mainly were rabbit hair. For the selected superior material and exquisite workmanship, the writing brushes became tributes to the imperial household. (Du Xiaofeng 2019, 36) --Li LIli (talk) 05:19, 17 December 2020 (UTC)Li Lili

By the Song dynasty, writing brush manufacturing technology reached its peak. Xuanzhou was still the center of manufacturing and many new types of brushes were produced and the classification of brushes was more specialized. However, Xuan writing brush gradually lost its former level in workmanship because every place across the country had its own way to make writing brushes. The best choice of materials for the pen heads was not only the rabbit hair any more. (Quote is missing)--Li LIli (talk) 05:19, 17 December 2020 (UTC)Li Liili

A batch of masters of making brushes appeared in the Huzhou of Zhejiang province in the Yuan and Ming dynasties, such as Wu Yunhui, Feng Yingke and Lu Wenbao. Writing brush made in this place, known as Hu writing brush, was characterized by pointed tip, even brush hair, round brush belly and flexible hair. Since the Qing dynasty, Huzhou has been the center of writing brush manufacturing. At the same time, several well-known writing brushes emerged in succession, among which writing brushes respectively made by Li Dinghe in Shanghai and made by Wu Yunhui in Jiangxi have won prizes in the international fairs. (Xu Qing 2013, 89)

A batch of masters of making brushes appeared in the Huzhou of Zhejiang province in the Yuan and Ming dynasties, such as Wu Yunhui, Feng Yingke and Lu Wenbao. Writing brush made in this place, known as Hu writing brush, was characterized by pointed tip, even brush hair, round brush belly and flexible hair. Since the Qing dynasty, Huzhou has been the center of writing brush manufacturing. At the same time, several well-known writing brushes emerged in succession, among which writing brushes respectively made by Li Dinghe in Shanghai and made by Wu Yunhui in Jiangxi have won prizes in the international fairs. (Xu Qing 2013, 89)--Li LIli (talk) 05:19, 17 December 2020 (UTC)Li Lili

In the late Qing dynasty, with the incoming of western paintings, traditional Chinese realistic paintings began to fail and the writing brush was renovated. There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou. At present, painting brushes produced in Shanghai, Suzhou and Beijing also enjoy high reputation. (Xu Qing 2013, 91)

In the late Qing dynasty, with the introduction of western paintings into China, traditional Chinese realistic paintings went downhill and thus the writing brush was renovated. There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou. At present, painting brushes produced in Shanghai, Suzhou and Beijing also enjoy high reputation. (Xu Qing 2013, 91)--Li LIli (talk) 05:19, 17 December 2020 (UTC)Li Lili

Writing brush can be classified according to the usage, shape, material of its head and so on. Brushes can be used to write or paint. Based on its shape, there are brushes with round hair and brushes with pointed hair. What’s more, materials for the head part of writing brushes includes goat hair, yellow weasel hair, black rabbit hair, pig hair, mouse mustache, and hair of buffalo’s tail. According to the hairs texture, Chinese brushes can be divided into the one with soft hair, mixed hair and hard hair. Considering the length of the tip, writing brush can be categorized as three types: small one, middle one and large one. (Wang Xiaaojuan 2013, 45)

Different types of brushes may possess different functions and usages. Writers prior to the Song dynasty used brushes with hard hair to write. By the Ming and Qing dynasties, as writers wrote larger Chinese characters, brushes used by them were changed from brushes with hard hair to brushes made of goat hair, namely goat-hair brushes, because the length of goat hair was apt to write big characters. Generally, people often use brushes with hard hair to write cursive script and semi-cursive script and always use hard-hair brushes to write regular script, official script and seal script. As for choosing the tip of a writing brush, we should choose appropriate length. If the tip of a brush is long, the tip will not be easy to master, but the brush can contain a lot of ink, suitable for writing cursive script. (Quote is missing)--Li LIli (talk) 05:19, 17 December 2020 (UTC)Li Liili

As a tool and carrier for inheriting and promoting Chinese culture and art, writing brush has forged a unique art of Chinese calligraphy and the distinctive artistic style of Chinese painting. Each dynasty in Chinese history has witnessed famous craftsmen appearing and fine works produced, which helped form a profound cultural accumulation. (Quote is missing)--Li LIli (talk) 05:19, 17 December 2020 (UTC)Li Liili

B. Terms and Expressions

笔锋 the tip of a wring brush

笔杆 pen-holder

宣笔 Xuan Chinese writing brush

羊毫笔 goat-hair brush

鼠须笔 mouse-mustache brush

C. Questions

1. What are the four treasures of the study?

2. How long is the history of writing brush?

3. When was the physical object of writing brush found?

4. How many centers of writing brush manufacturing in the history? What are they?

Answers

1. Writing brushes, ink sticks, paper and inkstones.

2. 5000 or 6000 years up to now.

3. In the Warring States periods.

4. There were three centers of writing brush manufacturing in the history, Hengshui, Xuanzhou and Huzhou.

References

• 杜霄枫Du Xiaofeng. 苏易简《文房四谱》研究[Study on Su Yijian's Four Treasures of the Study].郑州大学[Zhengzhou University],2019.

• 王小娟Wang Xiaojuan. 宋代文房四宝与文人[Four Treasures of the Study and Literati in the Song Dynasty].华中师范大学[Central China Normal University],2013.

• 徐清Xu Qing.毛笔的发展及历代名工[The Development of Writing Brush and Famous Workers in Past Dynasties].中国书法[Chinese Calligraphy],2013.

• 鄢豪Yan Hao. 器锐、法妙、事善[D].湖南师范大学,2012.

Chinese Classical Fairy Tales -Zhao Xiaoyan 赵晓燕 202070080628 MTI

Jingwei Tries to Fill the Sea

Jingwei is a bird in Chinese mythology, who was transformed from Yandi's daughter Nüwa. She is also a goddess in Chinese mythology. The story is recorded in the Shanhaijing:Three thousand ninety li farther southeast, then northeast, stands Departing-Doves Mountain. On its heights are many mulberry trees. There is a bird dwelling here whose form resembles a crow with a patterned head, white beak, and red feet. It is called Jingwei and makes a sound like its name. She is the younger daughter of Yandi named Nüwa. Nüwa was swimming in the Eastern Sea when she was unable to return to shore and drowned. She then transformed into the bird Spirit-Guardian and regularly carries twigs and stones from the Western Mountains to fill up the Eastern Sea. The Zhang River emanates from here and flows eastward into the Yellow River.[1](Strassberg(2002),132.) The story means dogged determination and perseverance in the face of seemingly impossible odds.Based on different research perspectives, people classify the myth into different types of myths. Obviously, the myth is a typical metamorphosis myth, and belongs to the myth of "life after death", that is, the soul is entrusted to a real substance. The woman drowned in the sea and became a bird to carry out the revenge business of reclamation. The myth of “Jingwei Tries to Fill the Sea” expresses the most essential and eternal thing about human beings: the fear of survival, and above all, the eternal and unique spirituality of human beings. These archetypal themes express the cultural consciousness of the ancestors arising from their most basic survival. Survival here is simply a cherishing of life. As a result of this initial instinct to preserve life, the sense of crisis gradually spread to a deeper and broader level in later generations.(Paragraph is too long)--Zhang Hui (talk) 13:43, 19 December 2020 (UTC)

The Great Flood of Gun-Yu

The Great Flood of Gun-Yu, also known as the Gun-Yu myth, was a major flood event in ancient China that allegedly continued for at least two generations, which resulted in great population displacements among other disasters, such as storms and famine. People left their homes to live on the high hills and mounts, or nest on the trees.[2](Strassberg(2002)) According to mythological and historical sources, it is traditionally dated to the third millennium BCE, or about 2300-2200 BC, during the reign of Emperor Yao. Yu tried a different approach to the project of flood control; which in the end having achieved success, earned Yu renown throughout Chinese history, in which the Gun-Yu Great Flood is commonly referred to as "Great Yu Controls the Waters". Yu's approach seems to have involved an approach more oriented toward drainage and less towards containment with dams and dikes. According to the more fancily embellished versions of the story it was also necessary for him to subdue various supernatural beings as well as recruit the assistance of others, for instance a channel-digging dragon and a giant mud-hauling tortoise (or turtle).[3] In the history of Chinese civilization, the story "the Great Flood of Gun-Yu" played an important role in healing water. In the process of curing water, Yu relied on the concepts of hard work, making the best use of the situation, scientific treatment of water and putting people first, and overcame many difficulties to achieve success. This led to the formation of the spirit of Da Yu's water management, which is based on the concepts of selflessness, national supremacy, people as the foundation of the nation, and scientific innovation. The spirit of the Great Yu is the source and symbol of the Chinese national spirit.

The Legendary of Nian

According to Chinese mythology, a Nian is a beast that lives under the sea or in the mountains. The character nian more usually means "year" or "new year". The earliest written sources that refer to the nian as a creature date to early 20th century. As a result, it is unclear whether the Nian creature is an authentic part of traditional folk mythology or a part of a local oral tradition which was recorded in the early 20th century. Nian is one of the key characters in the Chinese New Year with scholars citing it as the reason behind several practices during the celebration such as wearing red clothing and creating noise from drums and fireworks.[4](Laban (2016-02-08)). Various aspects of cultural practices relating to Chinese New Year are now included as part of the nian legend. Once every year at the beginning of Chinese New Year, the nian comes out of its hiding place to feed, mostly on men and animals. During winter, since food is sparse, he would go to the village. He would eat the crops and sometimes the villagers, mostly children. There are several accounts as to how it looked, such as the way some sources cited that it resembles a flat-face lion with a dog's body and prominent incisor.[5](Flake, Ben (2014-01-31)). Other authors described it as larger than an elephant with two long horns and many sharp teeth.[6](Yuan, Haiwang (2006)). The weaknesses of the nian are purported to be a sensitivity to loud noises, fire, and a fear of the color red. The reason why people consider the year as a monster is because the earth and sky bring food and clothing, as well as disasters. Therefore, it is important to start the year with a respect for nature and to pray for blessings through rituals.(paragraph is too long)

Terms and Expressions

Jingwei Tries to Fill the Sea 精卫填海

Yandi 炎帝

Shanhaijing 山海经

Departing-Doves Mountain 发鸠山

Nüwa 女娃

Eastern Sea 东海

the bird Spirit-Guardian 精卫鸟

Zhang River 漳水

The Great Flood of Gun-Yu 鲧禹治水

Emperor Yao 尧帝

Nian 年

new year 新年

Questions

1.Who is Nüwa?

She is the younger daughter of Yandi,then transformed into a bird called Jingwei.

2.What can we learn from the Great Flood of Gun-Yu?

The spirit of Da Yu's water management, which is based on the concepts of selflessness, national supremacy, people as the foundation of the nation, and scientific innovation.

3.What are the customs of Chinese New Year?

Wearing red clothing and creating noise from drums and fireworks.

References

[1]Translation in Strassberg(2002),132.

[2]Strassberg,Richard,ed.(2002),A Chinese bestiary:strange creatures from the guideways through mountains and seas, University of California Press.

[3]百度百科

[4]Laban, Barbara (2016-02-08). Top 10 Chinese myths. the Guardian.

[5]Flake, Ben (2014-01-31). It Lurks. The Paris Review.

[6]Yuan, Haiwang (2006). The Magic Lotus Lantern and Other Tales from the Han Chinese. Westport, CT: Libraries Unlimited. 168.

--Zhao Xiaoyan (talk) 14:04, 3 December 2020 (UTC)

Face Changing in Sichuan Opera - Zhou Yiwen 周艺文 202070080629 英语笔译

Face Changing in Sichuan Opera

1.Sichuan Opera and its characteristics

Sichuan Opera originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911). With immigrants flooding into Sichuan, different dramas were brought in to blend with the local dialect, customs, folk music and dances. Gradually, brisk humorous Sichuan Opera, reflecting Sichuan culture, came into being. Sichuan Opera is well-known in China, and it is characterized by solo singing, skillful acting, rich percussion and incredibly funny comedies. Performers wear brightly colored costumes and move to quick, dramatic music and they are always full of wit, humor, lively dialogues, and pronounced local flavors. They also wear vividly colored masks that they may change within a fraction of a second. The magic stunts such as quick face changes without makeup and the acrobatics such as jumping through burning hoops and hiding swords entertain and amuse audiences. (https://www.globaltimes.cn/content/573460.shtml)

2.The origin and development of face changing

Face changing began 300 years ago, during the reign of the Qing Dynasty Emperor Qianlong (1736-1795). It is said that ancient people painted their faces to drive away wild animals. Sichuan Opera absorbs this ancient skill and perfects it into an art. Face-changing is achieved by quickly tearing off, rubbing, or blowing away a mask to reveal another. It is the highlight of Sichuan Opera. It is an important aspect of Sichuan Opera, and the precise techniques that are used to change masks in modern Sichuan Opera is a closely guarded secret. The secrets have been passed down within theatre families from generation to generation. It was listed as intangible cultural heritage in 2005. (百度百科: 川剧变脸--历史起源 Baidu Baike：The origin of face changing)

Face-changing was first used in a story about a hero who stole from the rich to help the poor. When he was caught by feudal officials, he changed his face to puzzle them and escaped as a result. By the 1920s, opera masters began using layers of masks made of oiled paper or dried pig bladder. Skilled performers could peel off one mask after another in less than a second. In contemporary opera, performers wave their arms and twist their heads, and their painted masks are changed again and again, much to the astonishment and amusement of the audience. Modern-day masters use full-face painted silk masks, which can be worn in layers of as many as twenty-four, and be pulled off one by one. (https://www.chinahighlights.com/chengdu/attraction/magical-face-change.htm)

It is amazing to watch actors change their masks with a magical sweep of a hand or the turning of the head. It is difficult to see the masks being changed. Sichuan Opera master Peng Denghuai changed 14 masks in 25 seconds, and reverted to four masks after revealing his true face. This was his latest Guinness World record, breaking his previous one. Hong Kong super star Andy Lau was said to respect Mr. Peng as teacher and mentor in this stunt. One Sichuan Opera master also used Qigong movements as he changed face color from red to white, then from white to black. (Xiao, 2013:54-55)

3.The symbolic meaning and typical characters in different colors of Lianpu

The most direct impression of Sichuan Opera facial makeup is its colorful colors, which are just like the color plates in paintings. Red, black, blue, white, yellow and green are the main colors, supplemented by turmeric, pink and stone green. The colors are bright and pure, exaggerated and gorgeous. Its color is rich and changeful, each kind of color has its connotation. In addition to the differences in color, people's perception of color in daily life is more related to the aesthetic meaning and cultural connotation. For example, yellow represents sunshine, green represents health, black represents darkness, etc. On the one hand, the colors on facial masks exaggerate and amplify the features of the characters; on the other hand, they also express the hearts of the characters through the symbolic meanings. The colors become the basis for the audience to evaluate the characters, either praising or criticizing. (Wang, 2017 132-133)

The red mask represents loyalty and righteousness, and the most famous one is Guan Yu in Romance of The Three Kingdoms. He is loyal to Liu Bei all his life and does not seek vanity. White color is used in those treacherous and insidious characters, such as Cao Cao, Qin Hui, Yan Song, Sima Yi. Black is a symbol of integrity and frankness, the most typical is Bao Zheng’s facial makeup, in addition to Li Kui, Zhang Fei, Xiang Yu and so on. Yellow symbolizes bravery and violence, such as Dian Wei and Pang Juan. Green symbolizes recklessness and impulsiveness, such as The “green tiger” Xu Shiying. Blue and green are more neutral, symbolizing outlaw hero, strong and fierce, such as Dou Erdun, Cheng Yaojin, Gongsun Sheng, etc. Gold and silver do not often appear, generally only used by mythological characters, representing Buddhas, gods, spirits, ghosts, etc. For example, Sun Wukong (Monkey King) has a facial makeup with burning eyes and some gold on his eyelids, thus showing the cleverness of the Monkey King. (Wang, 2017 132-133)

As the visual focus for the audience to appreciate Sichuan opera, the varied colors of facial makeup bring different levels of inner feelings to the audience. Such rich and varied colors successfully express the character of the opera characters and the historical judgment of their emotions in a clear and appropriate way. It can be said that color, as a visual language, occupies a very important position in sichuan opera facial makeup art. (Wang, 2017 132-133)

4.Crafting materials for facial makeup

As for the materials of Sichuan Opera face-changing, they were mostly based on the hard surface shell made of rough paper paste at the beginning. After continuous improvement, they evolved into drawing on the thin paper surface. Folding fans or cloaks were often used to cover the face-changing process. At the moment of turning a head or stroke sleeve quickly pull off layers of facial makeup. After the founding of new China, with extensive attention paid to the art of Sichuan Opera, face-changing stunts have also made considerable progress, and the process materials for making facial masks have been gradually replaced by lighter and more durable silk fabrics from the original paper. For performers, the use of the silk fabric not only speeds up the production time of facial masks, but also increases the time for instant facial makeup. Different from the complexity of the traditional facial makeup drawing process, this facial makeup making process does not need to consider the facial structure, and the drawing pattern is more free and smooth. However, it should be noted that because of the rapid change of face mask in the performance process, the instant face change, the stage effect is strong, so this kind of face mask is very particular about simple writing, bright colors, rough and powerful. (Luo, 2019, 13:29-30)

5.Three main types of Lianpu

There are three types of face changes, Wiping Mask routine, Blowing Mask routine and Pulling Mask routine. In the Wiping Mask routine the actor applies cosmetic paint in a certain position on his face. If the whole face is to be changed, the cosmetic paint is applied to the forehead or eyebrows; for changes on the lower half of the face, paint is applied to his cheeks or nose; or to other specific parts. The Blowing Mask routine works with powder cosmetics, such as gold, silver, and ink powders. Sometimes a tiny box is placed on the stage; the actor draws near and blows at the box. The powder will puff up and stick to the face. Sometimes the powder is put in a cup. The secret to success in this act is to close the eyes and mouth and to hold the breath. The Pulling Mask routine is the most complicated. Masks are painted on pieces of damask, well cut, hung with a silk thread, and the lightly pasted to the face one by one. The silk thread is fastened in an inconspicuous part of the costume. With a flick of his cloak the performer magically whisks away the masks one by one as the drama develops.(百度百科: 川剧变脸--表现手法Baidu Baike: Face changing -- Expression methods)

Terms and Expressions

Sichuan Opera (Chuan Ju) n.川剧

Face changing n.变脸

Lian pu 脸谱

Guan Yu 关羽

Romance of The Three Kindoms 《三国演义》

Liu Bei 刘备

Cao Cao 曹操

Qin Hui 秦桧

Yan Song 严嵩

Sima Yi 司马懿

Bao Zhenhg 包拯

Li Kui 李逵

Zhang Fei 张飞

Dian Wei 典韦

Pang Juan 庞涓

Xu Shiying 徐世英

Dou Erdun 窦尔敦

Cheng Yaojin 程咬金

Gongsun Sheng 公孙胜

Sun Wukong, 孙悟空

Monkey King 孙悟空，美猴王

Peng Denghuai 彭登怀

Andy Lau 刘德华

Wiping Mask 抹脸

Blowing Mask 吹脸

Pulling Mask 扯脸

Questions

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

1.How long is the history of Sichuan Opera?

2.What are the characteristics of Sichuan Opera?

3.How long is the history of face changing?

4.What are the typical colors of lianpu and what are their symbolic meanings?

5.What are the three types of face changes?

Answers

1.Sichuan Opera (Chuan Ju) originated at the end of the Ming (1368-1644) and the beginning of the Qing Dynasty (1644-1911).

2.Sichuan Opera is characterized by solo singing, skillful acting, rich percussion and incredibly funny comedies.

3.Face changing began 300 years ago, during the reign of the Qing Dynasty Emperor Qianlong (1736-1795).

4.Red, black, blue, white, yellow and green are the main colors, supplemented by turmeric, pink and stone green.

The red mask represents loyalty and righteousness. White color is used in those treacherous and insidious characters. Black is a symbol of integrity and frankness. Yellow symbolizes bravery and violence. Green symbolizes recklessness and impulsiveness. Blue and green are more neutral, symbolizing outlaw hero, strong and fierce. Gold and silver do not often appear, generally only used by mythological characters.

5.Wiping Mask routine, Blowing Mask routine and Pulling Mask routine.

References

Luo Yue 罗玥. (2019). 浅谈川剧随心变的变脸脸谱艺术 [On the Art of Changing Facial Makeup in Sichuan Opera]. 戏剧之家 Home Drama13:29-30.

Wang Huaqing 王华清. (2017). 刍议川剧脸谱艺术特征 [Analysis of the Artistic Characteristics of Facial Makeup in Sichuan Opera]. 设计 Design

Xiao Yuanjin 萧源锦. (2013). 神奇莫测的川剧变脸 [Magical Face Changes of Sichuan Opera]. 文史杂志 Journal of Literature and History 2: 54-55.

百度百科Baidu Baike

https://www.globaltimes.cn/content/573460.shtml

https://www.chinahighlights.com/chengdu/attraction/magical-face-change.htm --Zhou Yiwen (talk) 14:15, 20 December 2020 (UTC)

The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties-Zhou Yuanqu 周园曲 Student No.202070080630

The Nine-Grade Official Selection System in Wei, Jin, Southern and Northern Dynasties

In the Wei, Jin and Southern and Northern Dynasties (AD 220-AD 589), China was a profoundly divided country. Different from the unified Han Dynasty, in this period the northern and southern part of China confronted each other, with numerous political regimes existing at the same time. In this period, the official selection system was mainly the Nine-Rank Official Selection System.

In the Wei, Jin and Southern and Northern Dynasties (AD 220-AD 589), China was a profoundly divided country. Different from the unified Han Dynasty, in this period the northern and southern part of China confronted each other, with numerous political regimes existing at the same time. In this period, the official selection system was mainly the Nine-Rank Official Selection System. --Zou Xinyu2 (talk) 14:16, 19 December 2020 (UTC)Zou Xinyu

The Nine-Rank Official Selection System originated from Cao Cao's thought of "meritocracy" in the late Eastern Han Dynasty (AD 184-AD 220), and was not formally carried out by Cao Pi, king of Wei, until AD 220. When Cao Pi established this system of selecting officials, he hoped that "it is based on the merits of talents, not on the superiority of aristocratic families". And the establishment of this system also used the Recommendatory System (a method of civil recruitment) in Han Dynasty for reference.

The Nine-Rank Official Selection System originated from Cao Cao's thought of "meritocracy" in the late Eastern Han Dynasty (AD 184-AD 220), and was not formally carried out by Cao Pi, king of Wei, until AD 220. When Cao Pi established this system of selecting officials, he hoped that "it is based on the merits of talents, not on the superiority of aristocratic families". And the establishment of this system also used the Recommendatory System (a method of civil recruitment) in Han Dynasty for reference.--Zou Xinyu2 (talk) 14:16, 19 December 2020 (UTC)Zou Xinyu

The contents of the Nine-Rank Official Selection System are as follows:

1. Local dignitaries with integrity and talents would be appointed by the imperial court as Rectifiers. Rectifiers in each Region would be classified as Senior Rectifiers, in each Commandery as Junior Rectifiers.

2. Rectifiers were in charge of classifying all males in their jurisdiction into nine ranks based on the candidates' talents, morality and hereditary social status. The Rectifier were only in charge of classification. They didn't have the power of appointment.

3. The nine ranks were superior-superior, superior-intermediary, superior-inferior, intermediary-superior, intermediary-intermediary, intermediary-inferior, inferior-superior, inferior-intermediary, and inferior-inferior. (see picture)

The Nine-Grade Official Selection System, image from Baike. Click [2] for original source.

4. Firstly, the Junior Rectifier would consider to a large extent what status the candidate’s ancestors had possessed and how many generations had taken office. Secondly, the Junior Rectifier proceeded to examine the merits of the candidate. Thirdly, the Junior Rectifier would hand in their classification to the Senior Rectifier who would check the validity of the classification and submit it to the Minister of Personnel. Finally, the Minister of Personnel would select the officials and appointed them to office.

5. The level of the office was parallel to the rank of each candidate.

6. Every three years, the Rectifier would submit their recommendations to the Minister of Personnel. In the recommendations, the Rectifier would state their opinion as to whether officials who had already been conferred offices should be promoted or not.

4. Firstly, the Junior Rectifier would consider to a large extent what status the candidate’s ancestors had possessed and how many generations had taken office. Secondly, the Junior Rectifier proceeded to examine the merits of the candidate. Thirdly, the Junior Rectifier would hand in their classification to the Senior Rectifier who would check the validity of the classification and submit it to the Minister of Personnel. Finally, the Minister of Personnel would select the officials and appointed them to office.

5. The level of the office was parallel to the rank of each candidate.

6. Every three years, the Rectifier would submit their recommendations to the Minister of Personnel. In the recommendations, the Rectifier would state their opinion as to whether officials who had already been conferred offices should be promoted or not.--Zou Xinyu2 (talk) 14:16, 19 December 2020 (UTC)Zou Xinyu

In the initial stage of the implementation, the Nine-Rank Official Selection System played a positive role. It was conducive to the selection of talents and stability of society. In addition, taking morality as a standard of recruitment changed the situation that rich and powerful families dominated the selection of talents since the late Eastern Han Dynasty, which strengthened the central government’s control over civil recruitment.

In the initial stage of the implementation, the Nine-Rank Official Selection System played a positive role. It was conducive to the selection of talents and stability of society. In addition, taking morality as a standard of recruitment changed the situation that rich and powerful families dominated the selection of talents since the late Eastern Han Dynasty, which strengthened the central government’s control over civil recruitment.--Zou Xinyu2 (talk) 14:16, 19 December 2020 (UTC)Zou Xinyu

However, with the passage of time, the negative factors in the Nine-Rank Official Selection System began to play an overwhelming role. Due to the lack of supervision mechanism, the Nine-Rank Official Selection System gradually became a tool for the elite class to control the selection of talents and to further control the whole bureaucratic system. The Twenty-Four Histories described the bureaucratic stratum of that times as “Nobody ranked as a superior comes from a humble family; nobody classified as an inferior comes from a noble family.” Besides, since morality was given priority in the Nine-Rank Official Selection System, talents with moral flaws would lose the opportunity of being recruited forever.

However, with the passage of time, the negative factors in the Nine-Rank Official Selection System began to play an overwhelming role. Due to the lack of supervision mechanism, the Nine-Rank Official Selection System gradually became a tool for the elite class to control the selection of talents and to further control the whole bureaucratic system. The Twenty-Four Histories described the bureaucratic stratum of that times as “Nobody ranked as a superior comes from a humble family; nobody classified as an inferior comes from a noble family.” Besides, since morality was given priority in the Nine-Rank Official Selection System, talents with moral flaws would lose the opportunity of being recruited forever.--Zou Xinyu2 (talk) 14:16, 19 December 2020 (UTC)Zou Xinyu

Terms and Expressions

Nine-Rank Official Selection System 九品中正制

Recommendatory System 察举制

Rectifier 中正官

Senior Rectifier 大中正官

Junior Rectifier 小中正官

Region 州

Commandery 郡

superior-superior 上上

superior-intermediary 上中

superior-inferior 上下

intermediary-superior 中上

intermediary-intermediary 中中

intermediary-inferior 中下

inferior-superior 下上

inferior-intermediary 下中

and inferior-inferior 下下

Minister of Personnel 吏部尚书

Twenty-Four Histories 《二十四史》

Questions

1. Who established the Nine-Rank Official Selection System?

2. What does a Rectifier do?

3. What are the nine ranks?

4. What's the positive influence of the Nine-Rank Official Selection System?

Answers

1. Cao Pi, king of Wei.

2. A Rectifier is in charge of classifying all males in their jurisdiction into nine ranks based on the candidates’ talents, morality and hereditary social status.

3. The nine ranks are superior-superior, superior-intermediary, superior-inferior, intermediary-superior, intermediary-intermediary, intermediary-inferior, inferior-superior, inferior-intermediary, and inferior-inferior.

4. It was conducive to the selection of talents and stability of society. In addition, taking morality as a standard of recruitment changed the situation that rich and powerful families dominated the selection of talents since the late Eastern Han Dynasty, which strengthened the central government’s control over civil recruitment.

References

1. Sun Xiaoyu, A Chinese History Reader, Singapore: Cengage Learning Asia Pte Ld., 2010.

2. Charles O Hucker, A Dictionary of Official Titles in Imperial China, Palo Alto: Stanford University Press, 1985.

3. Deng Zhongping 邓中平. (2010). 浅析中国古代选官制度及启示 [Analysis of ancient Chinese system for selecting officers and enlightenment].西南政法大学 Southwest University of Political Science and Law.

Lattice on Ancient Chinese Windows 祝美梅 Student No.202070080632 Major: MTI 英语笔译

Introduction

From then till now, windows at home and abroad has always played an significant role in the construction of buildings, both in its practical function and decorative values. The design of this architectural part affects the appearance, style, human touch, solemnity, vitality, and the enchantment of the building. The cultural implication of windows has developed over the years. Our forefathers poured much of their emotions on this “hole” on the wall, regarding it as the most indispensable component in their life. (Liang Sicheng 1994, 78)

Ancient Chinese windows developed a unique style of its own, and was fundamentally different from any other school of architecture in the world. Windows has always been the object of humanity's pursuit of beauty. More than two thousands years ago, Laozi made a brilliant exposition on this: "In order to build a house, although we must establish solid walls, we must also provide doors and windows; so both the impenetrable and penetrable are essential to useful building." What tis meant was that what was visible was merely the physical setting, but what really made a structure useful was its invisible space. (Classic of Way and Its Powers, 1996, 56)

This article will introduce several kinds of lattices in windows in detail. Lattice (gexin格心) is also called “diamond lattice” (ling hua, 菱花). Diamond-shaped patterns were predominantly applied in external decoration in earlier periods. Lattice is also called geyan (格眼). (Ma Weidu, 2006, 47)

The three-crossing-six-nodes Lattice

The three-crossing-nodes lattice, symbolizes the orthodox state power, as well as heaven and earth. For the imperial palaces, this pattern means: in front of the emperor is a spectacular landscape characterized by prosperity, peacefulness, vitality and brightness. While for the divine temples, it means that God is in charge of the balance of the universe. When heaven and earth is in congruence with each other, lives on earth flourish and humans survive. This lattice also represents the prayer of our forefathers to plead god’s protection and the bumper harvest of both crops and animals. (Lv Dandan, Song Kuiyan, 2011, (12): 128-130)

The two-crossing-four-nodes Lattice

In the Forbidden City, the lattice of partition windows in main palaces are in diamond-shape. It was formed by two or three crossing rods with attached petals at the knot, making it looking a blooming flower. The lattice’s name made by two crossing rods is “the two-crossing-four-nodes lattice”, while by three is “the three-crossing-six-nodes lattice”. (Xiao Mo 1999, 35)

A-quiver-with-three-arrows-pattern

This lattice is formed by three groups horizontal rods respectively at the above, medium and bottom of a window intertwining with several vertical rods. These slender and long rods seems like arrows, hence the name. Chinese Taoists once said “ The Tao gives birth to One. One gives birth to Two. Two give birth to Three. Three gives birth to all things.” This type of lattice signifies numerous long arrows hanging on the window, with three implications: the property to dispel intruders from evils; a manifestation that inexhaustible weapons are in store with power endowed by heaven and a guarantee the acquisition of wealth as arrows are useful tools in hunting. (Laozi, 2016：105）

Swastika lattice

Swastika lattice, one of the ancient marks in China and India, gives people a spinning feeling. It looks like the spiral form caused by the flowing air or the vortex by running water in a river. The ancients believe that spiral movement is the engine of life. The shape卐 has no clear head nor tail, similar to Tai Chi diagram in traditional Chinese culture. （Zhao Jiawei, 2011, (15): 298-299)

This lattice represents the restless life and the infinite circulating of the universe. The character’s four directions stretch outside, manifesting auspiciousness and longevity. “swastika brocade” is also known as “ flowing swastika”.

Fret lattice

Fret lattice means a safe return, and long happiness and longevity. It was derived from the cloud and thunder pattern inscribed on pottery and bronze wares. The lattice is in square, or rounded spiral shape constructed by horizontal and vertical short lines, looking like the Chinese character “回”. It gives people an illumination urging they to move forward incessantly in their undertakings till success no matter what setbacks and failures we might meet, and the long lasting blessing and longevity. (Yu Shiping, 2019, (01):1-2)

The cracked ice lattice

The cracked ice pattern symbolize that ice starts melting, the end of the chilly winter and the return of the earth to spring, as all things are reviving. It’s connotation is that all the unpleasant and unpleasant things have passed away, and the good and pleasant wishes will be realized immediately. (Lv Dandan, Song Kuiyan, 2011, (12): 100-101)

The H-shaped Lattice

The H-shaped bar pattern lattice not only looks like hieroglyphics, but also symbols things that are exquisite, beautiful and standard. In addition, the ancients thought that the horizontal and vertical lines in the character of “工” indicating people do things in accordance with the orthodox traditional rules and practices and his integrity. (Zhang Jiji, 1991, 115)

The well-shaped lattice

The well-shaped lattice is not only the hieroglyph of Chinese character “井”, as well as resemble the railings surrounded the place where the ancients dug a hole to fetch water. Basically, China’s city planning is also expanded following well-shaped pattern. The reason why people choose this pattern is that they want to correspond with the well constellation, a symbol of auspiciousness and wish to keep away from fire hazard. （Zhao Jiawei, 2011, (15): 298-299)

Conclusion

"In the West, a window is just a window, which lets light and fresh air come in, but for the Chinese, it is a picture frame, through which the outside garden can be seen." Bei Lv Ming once said. By means of Lattice as a decoration, the picturesque window is not only a feast to eyes, but also enriches the layers of architectures, reflecting people's expectations for a better life. (Yu Shiping, 2019,(01): 94-95)

Nowadays, people living in cramped quarters have become almost oblivious to the aesthetics of their dwellings. The windows serve no other function than that of ventilation and lighting. In contrast, scholars and even ordinary peoples in ancient China living in dilapidated houses were obviously superior to us in terms of their taste and the efforts they made in improving the residential environment. I consider this is one of the greatest regrets in our modern life and by writing this paper, I aim to arouse people's appreciation and understanding of the splendid architectural culture created by our ancestors and let them be our silent companies to enrich our lives. (Ma Weidu, 2006, 9-10)

Vocabulary List

lattice 格心

diamond lattice 菱花

the three-crossing-six-nodes Lattice 三交六椀菱花

the two-crossing-four-nodes Lattice 双交四椀菱花

a-quiver-with-three-arrows-pattern 一码三箭样式菱花

swastika pattern 万字纹样式棂花

fret Lattice 回纹样式棂花

the cracked ice lattice 冰裂纹样式棂花

the well-shaped lattice 井字样式棂花

Questions

1. What's the practical function of lattice on ancient Chinese windows?

2. What kind of lattice was often used on windows of the imperial palace and divine temples?

3. What's the cultural implications of the three-crossing-six-nodes Lattice?

Answers

1. Lattice makes the window more lighter in weight.

2. The three-crossing-six-nodes Lattice was often used on windows of the imperial palace and divine temples.

3. The three-crossing-nodes lattice, symbolizes the orthodox state power, as well as heaven and earth.

Reference

• Huang Yixi 黄亦锡. (2008) 酒、酒器与传统文化[Wine, Wineset and Traditional Culture: the Study of Wine Culture of Ancient China]. 厦门大学Xiamen University.

• Liang Si 梁思成.(1994) 中国建筑史[History of Chinese Architecture].江苏美术出版社 Jiangsu Fine Arts Publishing House.

• Xiao Mo 萧默.(1999)中国建筑艺术史[The Art History of Chinese Architecture].文物出版社 Cultural Relics Publishing House.

• Zhang Jiji 张家骥.(1991) 中国造园论[On Chinese Gardening].山西人民出版社 Shanxi People's Publishing House.

• Ma Weidu 马未都.(2016) 中国古代门窗[Chinese Ancient Doors and Windows].中国建筑工业出版社 China Building Industry Press

• Zhao Jiawei 赵佳薇(2011). 重庆磁器口传统木雕窗窗棂浅析Analysis on window Lattice of Chongqing Ciqikou Traditional Wood Carving Window. 大众文艺 The Mass Literature and Arts

• Yu Shiping 郁世萍（2019). 格心棂花的装饰美——常家庄园传统窗棂艺术研究 [Beauty of Lattice -- Study on Traditional Window Lattice Art of Chang's Manor]. 美术大观 Art Review.

• Lv Dandan, Song Kuiyan吕丹丹，宋魁彦 (2011). 传统民居隔扇格心纹样解析 [An Analysis of the lattices used on Residential Partitions]. 发展 Development.--Zhumeimei (talk) 04:51, 21 December 2020 (UTC)

Yuelu Academy(One of the Four Most Prestigious Academies)-Zhu Xu 朱旭 202070080631 MTI

Yuelu Academy(One of the Four Most Prestigious Academies)

As one of the four most prestigious academies (Songyang Academy,Yingtianfu Academy,Yuelu Academy, White Deer Grotto Academy)over the last 1000 years in China, Yuelu Academy has been a famous institution of higher learning as well as a centre of academic activities and cultures since it was formally set up in the ninth year of the Kai Bao Reign of the Northern Song Dynasty (976AD). (Wekipedia)

The Academy has witnessed a history of more than one thousand years without a break, so it is called a "one-thousand-year-old academy". The historical transformation from Yuelu Academy to Hunan University is an epitome of the development of China's higher education, which mirrors the vicissitudes of China's education system. Shortly after its establishment, Yuelu Academy was known throughout the whole of China for its style of school management and its role in the dissemination of academic learning. When Emperor Zhenzong of the Northern Song Dynasty summoned the dean, Zhou Shi, to an interview, and conferred upon the Academy his Majesty's inscription.(Chen Yuxiang, 2020, 22)

Yuelu Academy vaulted into great fame, and enjoyed the reputation "xiao xiang zhu si", meaning it was a place in Hunan where great scholars assembled. It is right here that the renowned "Huxiang School of Learning" in the history of the li philosophy (the philosophy of principle) began to gain currency when Zhang Shi lectured in the Academy in the Sorthern Song Dynasty. And when Zhu Xi came here twice to give lectures, so popular were the lectures that there were too many visitors for the Academy to seat, and the water in the Yinma Pond (the Horse-Watering Pond) was drained by their horses. (Chen Yuxiang, 2020, 22)

Later on, the Academy saw other learning and ideas promulgated and exchanged such as the Yangming School in the midst of the Ming Dynasty, the Donglin School in the last years of the Ming dynasty, the Han School of the Qian Long and the Jia Qing Reigns (1736-1821) and the New Learning of the last years of the Qing Dynasty. The academic learning and education system of Yuelu Academy have had a far-reaching impact on the formation and development of Hunan's cultural tradition.(Xu Yanwen, 2020, 18)

Yuelu Academy mainly comprises Main Gate, Lecture Hall, Lushan Temple Tablet, Yushu Library, Wenchang Pavilion, Six Gentleman Hall, Ten-sacrificial-vessels Hall, Grand Sunlight Platform, the Banxue Building, the Hexi Platform, etc.The four characters "Yue Lu Shu Yuan" (Yuelu Academy in Chinese) on the horizontal board of the Main Gate were inscriptions of Zhenzong, an Emperor of the Song Dynasty (960AD-1279AD). From then on, Yuelu Academy became well-known all around the country and students came to study in an endless stream. On the door posts of the gate are couplets which read Wei Chu You Cai, Yu Si Wei Sheng (the Kingdom of Chu, the unique home of talents; the Academy of Yuelu, the very cradle of all). This couplet originates from Chinese classics and is considered appropriate, given the fact that talents have been delivered continuously by the Academy since its establishment.(Kong Sumei, Bai Xu, 2011, 179)

the gate of Yuelu Academy

Its architecture part had been reconstructed in 1980’s, but the garden landscape lacked unified design. Nowadays, the garden landscape of academy is losing its poetic imagery gradually. Under the principle of respecting history and spreading garden tradition, the conception of improving landscape axis for the academy and restoring Eight Scenes of Yuelu Academy is proposed for the overall restoration of the academy landscape. It is meaningful for setting a good example for the Chinese classical academy’s garden and replenishing the traditional garden art.The Lecture Hall, also called a "Hall of Loyalty, Filial Piety, Integrity and Chastity", is a core building of the Academy. Located at the heart of the Academy, the Lecture Hall is the most important place for teaching and momentous ceremony. In the 6th year of Qiandao Reign (1168 AD), the Southern Song Dynasty, the famous idealists Zhang Shi and Zhu Xi made a joint lecture here, which was the first joint lecture in the Confucian academies of China.(Li Bo He, Xing Yao Xiong, 2012, 409)

plan for Yuelu Academy

There are also many valuable cultural relics made of steles in the Lecture Hall. On the inner walls of the hall are engraved four big Chinese Characters- Zhong, Xiao, Lian, Jie (loyalty, piety, honesty and integrity) which were written by the great scholar Zhu Xi. There are others famous saying inscribed as well, such as "Uniform and stand as a mark of respect" written and set by Ouyang Zhenghuan, a master of the Qing Dynasty, and the stele "School Regulations" written by master Wang Wenqing of the Qing Dynasty are all important historical materials for the study of the education in China's Confucian academies. They still hold their own enlightening meaning to us nowadays. Having a history of more than one thousand years, there have been countless talented students learning here.(Ruan Hongsong, 2020, 62)

Especially in the late 19th century and 20th century, it witnessed a great number of patriotic thinkers, politicians, militarists, industrialists and diplomats.Today, Yuelu Academy, which has undergone restorations, has been listed as a key historical site under the state protection. It still shoulders the responsibility of conducting academic researches and training professionals.(Wang Yi, 2019, 106)--Zhu Xu (talk) 15:24, 6 December 2020 (UTC)

References

Xu Yanwen 徐艳文. (2020).古朴典雅的岳麓书院建筑群[The ancient and elegant Yuelu Academy Complex].中外建筑 Chinese&Overseas Architecture (06):17-20.

Chen Yuxiang 陈宇翔. (2020).岳麓书院:湖湘文化传承的圣地[Yuelu Academy: The Holy Land of Huxiang culture].新湘评论 Xinxiang Comment (03):22-23.

Kong Sumei, Bai Xu 孔素美,白旭. (2011)中国古代书院建筑形制浅析——以中国古代四大书院为例[On the architectural form of ancient Chinese academies —— Taking the four great academies in ancient China as an example].华中建筑 Huazhong Architecture 29(07):177-180.

Luo Muhe 罗慕赫. (2020).岳麓文脉传千年[The Millennium Inheritance of Yuelu culture]. 中国纪检监察报 China Discipline Inspection and Supervision Newspaper 09-25(006).

Ruan Hongsong 阮红松. (2020).岳麓书院与山长[Yuelu Academy and Shanzhang（principal）].炎黄纵横 Yan Huang Zong Heng (03):62-63.

Wang Yi 王艺. (2019).沅生芷草，澧育兰花——岳麓书院[Yuan Sheng Zhi Cao, Li Yu Lan Hua —— Yuelu Academy].广西城镇建设 Cites and Towns Construction in Guangxi (12):104-110.

Li Bo He, Xing Yao Xiong. (2012).The Landscape Restoration Conception of Yuelu Academy. Scenic Zone 1976:405-411.

Daniel McMahon. (2005).The Yuelu Academy and Hunan's Nineteenth-Century Turn Toward Statecraft. Late Imperial China 26(1).

Wekipedia: Yuelu Academy

Terms and Expressions

Kai Bao Reign 开宝年间

Emperor Zhenzong 宋真宗

xiao xiang zhu si 潇湘洙泗

Huxiang School of Learning 湖湘学派

Donglin School 东林党

Zhu Xi 朱熹

Zhou Shi 周式

Zhang Shi 张栻

Qiandao Reign 乾道年间

Wei Chu You Cai, Yu Si Wei Sheng 惟楚有才，于斯为盛

Zhong, Xiao, Lian, Jie 忠、孝、廉、洁

Lushan Temple Tablet 麓山寺碑亭

Yushu Library 御书楼

Wenchang Pavilion 文昌阁

Six Gentleman Hall 六君子堂

Grand Sunlight Platform 明伦堂

the Banxue Building 半学斋

the Hexi Platform 赫曦台

Questions

1.When did Yuelu Academy has been formally set up?

2.Why the water in the Yinma Pond (the Horse-Watering Pond) was drained?

3.What is the core building of Yuelu Academy?

4.What is the function of the Lecture Hall?

5.How many schools, learning and ideas do Yuelu Academy relate to?

6.What had happended in Yuelu Academy in the 6th year of Qiandao Reign?

Answers

1.In the ninth year of the Kai Bao Reign of the Northern Song Dynasty (976).

2.Because the lectures in Yuelu Academy were so popular that there were too many visitors for the Academy to seat.

3.The Lecture Hall.

4.The Lecture Hall is the most important place for teaching and momentous ceremony.

5.Five.They are the li philosophy (the philosophy of principle), the Yangming School, the Donglin School, the Han School and the New Learning.

6.It held the first joint lecture in the Confucian academies of China.

--Zhu Xu (talk) 14:47, 20 December 2020 (UTC)

Currency, Jiaozi(A Paper Currency in Northern Song Dynasty) - Zou Xinyu 邹鑫雨, 202070080633 MTI英语笔译

Jiaozi(A Paper Currency in Northern Song Dynasty)

Jiaozi(A paper currency in Northern Song Dynasty), image from Baike. Click [3] for original source.

Jiaozi was a form of banknote which appeared around the 10th century in the Sichuan capital of Chengdu, China. It is recognized as the first paper currency in history by numismatists (Li Jiashou 1993, 55).

The origin of jiaozi is still uncertain and has aroused a lot of discussions in which there are five main ideas. The first point of view is that jiaozi originated from Fei-qian (currency exchange notes in Tang Dynasty), which was recorded in The History of Song Dynasty (Tuo Tuo 1985, 181). Secondly, some people believe that jiaozi developes from contractual bonds. Peng Xinwei, a well-known Chinese currency historians and numismatics, exemplified that during the Ma Yin period of South Chu Kingdom (907-930), the iron coins in circulation were too big and heavy, making people trade with contractual bonds which had the same function as paper currency (Peng Xinwei 1965, 259). Besides, an institution in Tang Dynasty called “Gui Fang” is regarded by some people as the origin of jiaozi. This kind of institutions specialize in the storage and lending of money and commodities. In addition, there is another opinion that it's the lack of coins in circulation caused by people stopping minting iron coins during Li Shun’s uprising that promotes the origin of jiaozi (Dai Zhiqiang 2006, 43). The last thought about jiaozi’s origin is that the coins were of great weight, casting a great burden on merchants in carrying them, so they invented jiaozi.

The appearance of paper currency in Northern Song Dynasty was not accidental, but was an inevitable product of socio-political and economic development. With the rapid development of commodity economy in Song Dynasty, there was a need for more currency in circulation, but the copper coin was in shortage and couldn't meet the demand in circulation. The iron coin was common in the Sichuan region at the time, and was of low value and heavy weight, making it extremely inconvenient to use. Chengdu was an important economic center, and the roads to the outside world were extremely rugged, so there was an objective need for a light currency, which is the main reason why paper currency first appeared in Sichuan. Furthermore, although the Northern Song Dynasty was a country of highly centralized feudal dictatorship, the national currency was not uniform and there were several currency zones, each with its own rules, which were not used by the other. In addition, the Song government was frequently attacked by the Liao, Xia and Jin dynasties, and had to issue paper currency to cover its financial deficit (Mu Zi 2006, 79). All these reasons led to the creation of the paper currency, "jiaozi". Jiaozi was actually a certificate of deposit at first. During the Song Dynasty, "jiaozi banks" appeared in Chengdu, Sichuan Province, which offered a cash-custody services for merchants who had difficulty carrying large sums of money. The depositors would deliver their deposit to the jiaozi bank, and the bank would fill in the amount of the deposit on a paper roll made of broussonetia papyrifera (paper mulberry) and return it to the depositor, for which the depositor had to pay the bank the storage fee. This kind of mulberry paper roll, on which the amount of deposit was filled temporarily, was called jiaozi (Yang Wuneng, Qiu Peihuang, 1995, 835).

Initially, jiaozi was issued freely by merchants. In the early years of Northern Song Dynasty, "jiaozi banks" emerged in Chengdu, Sichuan province, for merchants carrying large sums of money who operated a cash deposit business. At this time, jiaozi was only a form of deposit and withdrawal receipt, not currency. With the development of the commodity economy, the use of jiaozi became more and more widespread, and many merchants joined together to set up jiaozi banks specializing in issuing and exchanging jiaozi, and they also opened branch banks in various places. Due to the creditworthiness of the jiaozi bank owners, people could withdraw their money as they came. And the printed designs of jiaozi were too exquisite to be forged, the bank owners began to print jiaozi with a uniform denomination and format, which was issued to the market as a new means of circulation. This kind of jiaozi was already the symbol for minted coins, and really became paper currency. But it had not yet been recognized by the government, and was still issued by private individuals as "private jiaozi" (Jia Daquan 1994, 22).

Not all jiaozi banks were law-abiding and trustworthy. During the first year of Renzong reign (1023), Xue Tian, the governor of Yizhou, reorganized the jiaozi banks, weeding out the outlaws and exclusively let sixteen wealthy merchants run the banks (Jia Daquan 1994, 61). It was only then that the issuance of jiaozi was recognized by the government. In the first year of the reign of Emperor Renzong of the Song Dynasty (1023), the government set up the Yizhou Jiaozi Affair Department, with one or two officials as supervisors to preside over the issuance of jiaozi, and set up a paper-copying academy to eliminate currency forgery, strictly enforcing the printing process. In order to ensure the proper circulation of jiaozi, the government also enacted laws to criminalize the counterfeiting of jiaozi (Hong Pimo 1991, 67). This was the earliest paper currency officially issued by the government in China - the "official jiaozi" (Li You 1935, 15).

The Northern Song government introduced a relatively comprehensive set of regulatory laws and policies in order to ensure the success of issuing jiaozi. In the beginning period of issuing jiaozi, the feudal government was cautious about the issuance of banknotes, and the introduction of laws and policies on the regulation of banknotes showed that the government was fully aware of the credit-dependent nature of banknotes and their weakness in being easy to counterfeit and issue indiscriminately. However, the feudal government often failed to effectively control the issuance of banknotes. When the government needed to spend a large amount of money, it often failed to restrain itself and abused its public credibility by using its power to issue banknotes indefinitely, which eventually caused inflation, thus making the banknotes lose their credibility and turning them into waste paper, as evidenced by the fate of jiaozi in Northern Song Dynasty. The government's abuse of credibility led to jiaozi becoming a tool for its enrichment. Without credibility, jiaozi lost its function of circulation and thus lost its own value of existence (Li Linsha, 2001, 65).

Jiaozi facilitated the commercial turnover of Song Dynasty, bridged the economy of Sichuan with that of northwest China, and indirectly promoted the prosperity of trade between the Northern Song and western countries (Wang Baoping 2010, 50). The advent of jiaozi also facilitated commercial exchanges and made up for the shortage of money in circulation, which is a major achievement in the history of China's currency. In addition, as the earliest paper currency issued in China and even in the world, jiaozi occupies an important position in the history of printing and printmaking, and is of great significance to the study of China's ancient paper currency printing technology, as well as a contribution of China's financial industry to the world.

References

• Li Jiashou 李家寿. (1993). 中国最早纸币——“交子”产生的原因及其年代 [The Reason and Time of the Production of the Earliest Chinese Paper Currency —Jiaozi]. 财经研究 Journal of Finance and Economics (12) 55-57.

• Tuo Tuo 脱脱. (1985). 宋史 [The History of Song Dynasty]. Beijing: China Publishing House 中华书局.

• Peng Xinwei 彭信威. (1965). 中国货币史 [The History of Chinese Currency]. Shanghai: Shanghai People’s Publishing House] 上海人民出版社.

• Dai Zhiqiang 戴志强. (2006). 有关北宋交子的几个问题 [Several Questions About Jiaozi of Northern Song Dynasty]. 中国钱币 China Numismatics (03) 43-46.

• Mu Zi 穆梓. (2006). 漫谈世界上最早的纸币——交子 [Talking About The World's Earliest Banknotes —Jiaozi]. 中国品牌与防伪 China Brand and Anti-counterfeiting (01) 78-79.

• Yang Wuneng, Qiu Peihuang 杨武能、邱沛篁. (1995).成都大词典 [The Great Dictionary of Chengdu]. Sichuan: Sichuan Lexicographical Publishing House 四川辞书出版社.

• Jia Daquan 贾大泉. (1994). 交子的产生 [The Production of Jiaozi]. 西南金融 Southwest Finance (S1) 05-26.

• Jia Daquan 贾大泉. (1994). 张詠、薛田与交子──关于交子的产生时间、整顿和官交子务的建立 [Zhang Yong, Xue Tian And Jiaozi — On the Production, Reorganization of Jiaozi and the Establishment of the Official Jiaozi Affair Department]. 四川文物 Sichuan Cultural Relics (05) 58-61.

• Hong Pimo 洪丕漠. (1991). 法苑谈往 [Talking About Some Rules of Ancient China]. Shanghai: Shanghai Bookstore 上海书店.

• Li You 李攸. (1935). 宋朝事实 [Facts of The Song Dynasty]. Beijing: The Commercial Press 商务印书馆.

• Li Linsha 李琳莎. (2001). 论中国早期纸币的盛行及衰落——北宋交子在货币史上的短暂一现 [On the Prevalence and Decline of the Previous Paper Money in China —— the Flash of Jiaozi in the Northern Song Dynasty]. 上海交通大学学报（哲学社会科学版） Journal of Shanghai Jiaotong University(Philosophy and Social Sciences) (03) 65-68.

• Wang Baoping 王宝平. (2010). 论交子与宋朝商业繁荣 [On the Currency of Jiaozi and Commercial prosperity in Song Dynasty]. 开封教育学院学报 Journal of Kaifeng Institute of Education (02) 47-50.

Terms and Expressions

jiaozi	交子	Fei-qian	飞钱
contractual bonds	契券	the Ma Yin period of South Chu Kingdom	楚的马殷时期
Gui Fang	柜坊	Li Shun	李顺
jiaozi bank	交子铺	broussonetia papyrifera(paper mulberry)	楮树
private jiaozi	私交子	Xue Tian	薛田
Yizhou	益州	the first year of the reign of Emperor Renzong of the Song Dynasty	宋仁宗元年
Yizhou Jiaozi Affair Department	益州交子务	official jiaozi	官交子

Questions

1.What is the earliest paper currency in the world?

2.Why did people in the Northern Song Dynasty give up using iron and copper coins as currency in circulation?

3.Which group of people firstly issued jiaozi?

4.When was jiaozi officially issued by the government?

5.What achievements did jiaozi make?

6.What other Chinese paper currency do you know?

Answers

1.Jiaozi.

2.Because the copper coin was in shortage and couldn't meet the demand in circulation, and iron coin was common in the Sichuan region at the time, and was of low value and heavy weight, making it extremely inconvenient to use.

3.Merchants.

4.In the first year of the reign of Emperor Renzong of the Song Dynasty (1023).

5.The advent of jiaozi facilitated commercial exchanges and made up for the shortage of money in circulation.

6.Huizi(a paper currency in Southern Song Dynasty), the paper currency in Qing Dynasty, the paper currency in the Chinese Soviet Area Period and Renminbi.

Cosmetics, Traditional Chinese Make-Up - Zubareva, Ekaterina 201921080003 - Major - Comparative Literature and Cross-Cultural Studies

--ZubarevaEkaterina (talk) 15:02, 14 November 2020 (UTC)

Introduction

Ancient China was the greatest power with a philosophy incomprehensible to our worldview. The culture of the East is strikingly different from that of the West. In China, it was customary for children to paint their cheeks with red paint in the form of an apple, so that the spirits, looking at the children, would be pleased, seeing that they were joyful and healthy. A fragile woman with a small foot was considered ideal. To do this, even in early childhood, girls wore tight shoes or tightly bandaged the foot so that it would stop growing.There are a lot of differences in types and ways of doing make up. [4]

Let's go back to Ancient China and talk about the history of cosmetics in China. Few people find it a secret that Chinese women have a yellowish skin color. To hide this "flaw", the women of ancient China used a powder made from rice starch. Such powder was abundantly sprinkled on the face, so many Chinese women had a snow-white face, and for contrast they painted their lips red, eyebrows shaded black. To apply blush, ancient Chinese women used vegetable broth, and the skin of the face was cleansed with milk and tea. At that time, Chinese women paid increased attention to nail care.

It is worth noting that many skin care products in Ancient China cost a lot, so only wealthy people or representatives of the nobility could afford such pleasure.

In our times, light types of makeup and a natural appearance are especially appreciated, while in the old days Chinese women preferred to abundantly apply a wide variety of paints to their faces, and the more paints were applied, the more beautiful a Chinese woman was considered. Accordingly, representatives of the nobility were considered the most beautiful, who had the opportunity to use the most exquisite and expensive recipes for personal care and makeup.

From childhood, Chinese women were taught the science of beauty: how to apply blush, mascara, whitewash, from an early age they were accustomed to the cosmetic etiquette of those times. For example, makeup had to be applied in such a way that the face appeared impassive, and the features did not have to be harsh and rough. By the way, if a Chinese woman bared her teeth while laughing, everyone considered her ill-mannered.[5]

Pale skin was and still is a sign of aristocracy in the East. Women literally put white on their face, their skin had to be snow-white, so they often went under umbrellas so as not to tan.--ZubarevaEkaterina (talk) 11:23, 20 December 2020 (UTC)

I.Base make up

1.Lead powder

In Shang Dynasty, in order to make their skin look white and delicate, people applied lead powder to their faces, and it was the most common way of makeup at that time. “Sheng Nong’s herbal classic” also mentions that women did make up with lead and tin powder.The side effects of using lead powder were truly terrifying. Over time, the skin turned yellow, covered with wrinkles. Accordingly, more and more lead had to be applied each time.The lead is highly toxic and does great harm to the skin, which is why ancient poetry always laments that beauty is easily lost.[6]

2.Rice powder

In fact, as early as before the lead powder, people still have relatively safe base makeup products, the earliest use of rice powder is made by the rice.

“Qimin Yaoshu (齐民要术)” also records the method of making rice powder in detail.Rice powder is a unique cosmetic product that can slow down the aging process, protect the skin from the effects of an aggressive environment. A weightless film appears on the face, which prevents active chemical components and dirt from entering the pores. At the same time, the composition is saturated with antioxidants that do not allow the skin to fade quickly. The selection of rice is exquisite. The way it is made: It is grinded into a fine powder, then processed, soaked in cold water, fermented and rotted, then cleaned and drained, then exposed to the sun, and finally used for makeup. However, the adhesion of rice powder is not good, and it is easy to fall off once it moves, so it is quickly replaces by the lead powder.[7]

II.Color make up

If to compare to modern times, ancient Chinese make-up is not so that simple.We can devideit into three categories: blush, eyebrows, lipstick.

1.Blush

Blush also has a beautiful name in ancient times called Yanzhi (胭脂, rouge).Blush in ancient China was bright and rich (this contrasted with white skin), which showed the Almighty that they were healthy and happy.

Rouge also called blush or blusher, is a cosmetic for coloring the cheeks in varying shades, or the lips red. It is applied as a powder or cream. It is a kind of cosmetics made from flowers named “Hong Lan” as the main raw material after being mixed. After the Huns were introduced into the Central Plains, the production of rouge was not only limited to plants, but also added with oil, animal bone marrow, etc. to make its texture more viscous, forming a state of lipstick to adapt to different needs. Since then, the use of rouge has become more abundant.

2.Lipsctick

Lipstick is a popular aesthetic fashion product since the pre-Qin Dynasty. But in ancient times, it was called Chun Zhi (唇脂), or Kou Zhi (口脂). In ancient times, the color of lipstick was mostly red, which could make the color of lips more gorgeous, make people look better, more youthful and energetic. Therefore, it was deeply loved by ancient women. The painting methods of the female lip make-up in the past dynasties are different, but they can’t escape the similar aesthetics, that is, the smaller the lips, the better.Which is completely different from modern worldwide beauty standards.Diving into history helps us to see how such simples things change and the way that people's mindsets and tastes change as well.

3.Eyebrows

It is believed that eyebrows can make or break a face—they're that important. Brows frame your eyes and add structure to your face after all.Eyebrows are a separate and one of the favorite parts of makeup. They had to be clear and black. The women shaved off their eyebrows and then dyed the eyebrows in a thin arc or made them straight. It was customary for warriors to dye their eyebrows in such a way as to give the image a more severe look.--ZubarevaEkaterina (talk) 11:23, 20 December 2020 (UTC)

Eyebrow painting tradition began in the Warring States period, but the tools for eyebrow painting did not appear at that time. The beauty-loving women used burnt willow branches as eyebrow pens. Later, “Dai (黛)” appeared. It is a kind of mineral with a dark blue color. Before use, Dai must be put on the stone inkstone and ground into powder shape. Then, add water to mix.

In the Han Dynasty, it became more common and common to decorate the eyebrows, and it also derived a new aesthetic. The more women drew eyebrows, the better they looked. In a word, there were many ways to draw eyebrows in ancient times. It also means that the ancient people liked drawing eyebrows back then.

III.Tang dynasty make up

1.Early Tang Dynasty

The Tang dynasty makeup style can almost be called the most versatile in the entire Chinese history.In both terms of national power and politics, the Tang dynasty almost reached the pinnacle of history, and because of this prosperity, the makeup of the women’s makeup in the people’s peace of environment constantly changed.[8]

With the transformation of the early Tang Dynasty, the flourishing Tang Dynasty, and the middle and late Tang Dynasty, the makeup was also making different changes, and for this reason, some special makeups were created, as we can see from the many ancient wall paintings and drawings.

In the early Tang Dynasty, influenced by the short-lived Sui Dynasty (581-617), the royal family did not pursue luxury and prefered simplicity. Therefore, women's make up was subtle and graceful, slightly coated with lead powder and with rouge simple make up.

• White make up

Since ancient times, people had standards of whiter the better, so women had to apply a lot of powder.The Tang Dynasty women’s powder and style were more diversed and prevalent. During the Zhenguan period, white makeup was popular among women, It probably was as popular as same as wearing BB creams and foundations in modern girls' make up.[9]

• Red make up

In order to highlight the contours of the face and make the face look redder, women would choose one or a few places to dye rouge on the forehead, eyelids, cheeks, and chin during the Zhenguan to Wuzhou period.

As a result, red makeup such as Huadian(花钿), Xiehong(斜红), Mianye(面靥), and other red makeup and accessories were diversified.[10]

2.Flourishing Tang Dynasty

After the Wuzhou period, the Tang Dynasty was at its peak, and there was closer communication between different ethnic groups, so women’s makeup also developed a new style. It was common for women to wear men’s clothing, without Weimao(帷帽)[11] and put on a pretty make-up. However, the women’s pursuit of beauty in the Tang Dynasty did not stop there, their facial makeup also changed a lot. Women’s red makeup redder, face rouge, Huadian also more and more.

For example, the Jiuyun makeup (酒晕妆, jiǔ yùn zhuāng), like a woman after drinking wine, is the most intense of the red makeup; the next is the Feixia makeup (飞霞妆, fēi xiá zhuāng), which has a white touched with red feel; the lightest is the more girly Peach-blossom makeup, light and bright as a peach blossom.[12]

There were some alternative make ups as well, such as tear makeups(泪妆) and Ti makeups(啼妆, tí zhuāng), where rouge was used more and was spread all over the face.

3.Middle & Late Tang Dynasty

After the An Shi Rebellion (安史之乱), women’s makeup went through a peaceful transition period for decades, during which there were not many new styles and it became lighter.

In the mid to late Tang Dynasty, due to the impact of national and social unrest, women’s lives were no longer as unrestrained as they were during the peak of the Tang Dynasty, so their makeup also gradually changed.

However, the red makeup was still the mainstay, but women who liked to be different were more daring in the field of fashion and innovative makeup, but also absorbed more exotic elements, making a lot of makeup full of fantastic imagination, and even unbelievable.

The most prominent of the late Tang dynasty women’s distinctive make up was the Yuanhe period’s Shishi makeup (时世妆, shí shì zhuāng).[13]

It is further exaggerated on the basis of the Ti makeup, the two cheeks painted redder, lips painted black, eyebrows painted as the end of the forked “Fen Shao eyebrows (分梢眉)”, or shaped like a spring silkworm out of a cocoon “Chu Jian eyebrows (出茧眉)”, the overall image is black eyebrows, face ochre, black lips.[14]

By the Changqing period, Shishi makeup was out of fashion. The woman’s black lips are no longer visible, but then another eye-opening makeup, Xie Yun makeup (血晕妆,xiě yùn zhuāng), began to prevail.[15]

A simple way to describe the Xieyun Makeup is that the woman shaves off all of her eyebrows and then draws three or four red or purple lines above and below her eyes to imitate the effect of being scratched, giving the impression of a bloodied wound.

4.Tang Dynasty Makeup – a reflection of the culture of the times

Tang dynasty social and economic, political and cultural prosperity, open atmosphere, giving women unprecedented tolerance, women’s makeup with the historical timeline, from subtle grace to graceful and elegant, so that we can see the creativity of women and artistic charm.[16]

Although the makeup of women in ancient times was aesthetically different compared to modern times, but behind every makeup, is the performance of Chinese cultural connotation, just with the flow of history, Tang Dynasty makeup has not been continued in life.

Overall, the boldness and innovation of Tang women in the pursuit of beauty and fashion have added an indelible chapter to the history of makeup and the Chinese culture.

References

• https://www.newhanfu.com/what-is-traditional-chinese-makeup-1.html --ZubarevaEkaterina (talk) 09:23, 7 December 2020 (UTC)

• https://www.newhanfu.com/history-of-tang-dynasty-makeup-style.html--ZubarevaEkaterina (talk) 09:29, 7 December 2020 (UTC)

• https://makiyazhglaz.com/vidy-makiyazha-glaz/istoriya-makiyazha-drevnyaya-indiya#7b3--ZubarevaEkaterina (talk) 09:23, 7 December 2020 (UTC)

• https://legchina.livejournal.com/410.html --ZubarevaEkaterina (talk) 09:23, 7 December 2020 (UTC)

• http://www.chinamodern.ru/?p=1763 --ZubarevaEkaterina (talk) 10:14, 7 December 2020 (UTC)

• https://www.chinadaily.com.cn/a/201804/21/WS5ada295aa3105cdcf6519a30.html --ZubarevaEkaterina (talk) 10:17, 7 December 2020 (UTC)

• 齐民要术》作者：贾思勰--ZubarevaEkaterina (talk) 05:41, 14 December 2020 (UTC)

• Some Image Sources: Niki-镜子 & Vanessa_娜萨酱 [17]

Terms and Expressions

• 齐民要术 - is the best-preserved ancient Chinese agricultural text and was written by an official of the Northern Wei Dynasty, Jia Six.

• 胭脂 - rouge

• 唇脂/口脂 - lipstick

• 黛 - black eyebrow dye

Questions

1.What kind of powder did the women of ancient China use to have a snow-white face?

2.Why is lead powder dangerous?

3.What are 3 categories of Ancient Chinese make up?

4.What bacame more common in Han dynasty?

5.What are the types of Early Tang dynasty's make up?

6.Why is Tang dynasty make up a reflection of that time's culture?

Answers

1.Rice powder.

2.Lead is highly toxic and does great harm to the skin.

3.Three categories of Ancient Chinese make up : blush, eyebrows, lipstick.

4.Decorating eyebrows became more common.

5.White make up and Red make up.

6.Tang dynasty social and economic, political and cultural prosperity, open atmosphere, giving women unprecedented tolerance, women’s makeup with the historical timeline, from subtle grace to graceful and elegant, so that we can see the creativity of women and artistic charm.