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3.Xu Haiyan徐海燕(2004).满族服饰[Manchu costume].沈阳出版社Publishing House. | 3.Xu Haiyan徐海燕(2004).满族服饰[Manchu costume].沈阳出版社Publishing House. | ||
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| + | --[[User:Liu Tingyang|Liu Tingyang]] ([[User talk:Liu Tingyang|talk]]) 10:18, 14 June 2021 (UTC) | ||
=Chinese Incense Culture - Liú Zhuōfán 刘卓凡 201930096025= | =Chinese Incense Culture - Liú Zhuōfán 刘卓凡 201930096025= | ||
Revision as of 12:18, 14 June 2021
Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15
- Link to return to Course Homepage.
- Link to the other Final Exam paper pages: Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语; Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙; Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇; Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜; Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲.
1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.
2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.
- 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.
- Please also add a list "Terms and Expressions".
- Please add a "Questions" section.
- Please add a "Answers" section.
This is the the first page with the final exam papers.
Please write another chapter of the textbook on any cultural phenomenon in China.
The Longevity Lock
Lǐ Yìhào 李艺浩 The Long-life Lock
The long-life lock is a popular traditional Chinese mascot, which is used to bless babies healthy and longevous and to drive away disasters and diseases.
A. The historical origin of the long-life lock
Zhu Suo,a colorful rope in the Han Dynasty, is the earliest form of the long-life locks. It is a portal decoration at Dragon Boat Festival in the Han Dynasty. The record in the History of the Later Han Dynasty is evidence of this statement, because it records that Zhu Suo was as a door decoration to stop evil. (Wang Haina,2010:59)(The History of the Later Han Dynasty)
In the Wei,Jin and Northern and Southern Dynasties, frequent wars, plague and famine is pervasive, so the vast number of people at that time strongly yearned for peace. So every Dragon Boat Festival, people used five silk ropes, five colors,to wove a colorful rope called Wu Se Sheng and then tied them to the arms of women and children so as to pray for exorcism, longevity and health. And this custom spread to Jing ,Chu and other places. (Gong Ting,2013：55)(Ying Zhao)(Zhou Chu)
In the Song Dynasty, this custom is not only popular with women and children, but also with the men. And in addition to that, it is also fashionable in the court. Before the Dragon Boat Festival, Emperors gave Wu Se Sheng to their intimate ministers so that they could ward off evil spirits and had good fortune. The record in the History of the Song Dynasty is evidence of this statement, because it records that emperors gave 100 officials Wu Se Sheng. In the Song Dynasty, there are so another colorful silk rope plaits called "Pearl Knot" and "Colored Thread Knot" . Their shapes and systems are more complicated. (Gong Ting,2013：55)(The History of Song Dynasty)
In the Ming Dynasty, this custom changing, adult male and female wears it less and usually the locks specifically used for children. And they are given children in children’s full one year of life and until the year of an adult. And also in this Dynasty, Wu Se Sheng had developed into the long-life lock and was popular. (Gong Ting,2013：55)
B. The materials and the shapes of the Long-life Lock
The long-life locks can be made of different materials such as gold, silver, copper, iron, wood, stone, jade, bone, tooth and horn. In the old days, gold, jade and tooth were commonly used in rich families, and silver, copper, stone and wood were generally used in poor families. Among them, with the development of Chinese silverware during the Ming and Qing Dynasties and during the Republic of China, the silver long-life locks became extremely popular in China. (Gong Ting,2013：57)(Wang Haina,2010:61)
The long-life locks are in different shapes, such as square, round, long, single or double.The long-life locks are often in conjunction with necklaces or necklace rings, or with silk ropes. The symbolic meaning of the long-life locks is main, so most of them cannot be opened with a key, but a few with a key. (Gong Ting,2013：56)
Rectangular long life locks mostly imitate the ancient copper locks which is simple and elegant, and they generally can open the lock with a key and suitable for enjoying. The long life locks in the shapes of cashew nut and gold ingot are unique, conveying the auspicious hidden meanings and its crafts are relatively complicated and brilliant. (Gong Ting,2013：56)
C. The pattern design of the Long-life Lock
The pattern designs of the long-life locks are mainly traditional auspicious patterns, such as folk auspicious words, flowers, birds, insects, animals and mythical characters. 1. Folk auspicious language This pattern has the words of Chang Ming Fu Gui，Chang Ming Bai Sui and Ji Xiang Ru Yi and so on. (Wang Haina,2010:61)(Gong Ting,2013：56)
2. Flowers, birds, insects and animals Animals, such as bats, butterflies, fish, deer, magpies, and mythical animals, such as dragons, phoenix, are often used. Flowers and plants, such as peonies, plum blossoms, lotus, pines and cypresses, are also commonly used.(Gong Ting,2013：56)(Wang Haina,2010:61)
3.Fairy tales Traditional mythical characters are always typical themes such as Kylin Sends Sons. The Kylin is a legendary mythical beast as one of "Four Spirits", symbolizing good fortune.(Wang Haina,2010:61)
D. The culture behind the Long-life Lock
In the past, many Chinese babies died of diseases because of human's limited ability to medical care. Therefore, there is a saying in folk that the King of Hell accepts babies. Therefore, adults were afraid that their babies died in infancy, and so adults worn a long-life lock for their children. They thought that the lock could lock their children so as not to let the evil spirits go into the body, not to be entangled by the evil spirits and not to be taken away their lives by the King of Hell, and to pray for the healthy and smooth growth of their children and pray for their long lives. Children are not allowed to pick their long-life lock until they became adults.
The differences in the long-life locks between Chinese and Western culture are obvious. Western people pursue liberty and do not like to be shackled, so they regard something like the long-life lock is a fetter. As a result, they do not have the long-life locks and this custom. However, this is an obviously different point when it comes to China. Because of its unique cultural environment bring its unique ideology, Chinese people create the long-life locks.
Terms
The History of the Later Han Dynasty 《后汉书》
Zhu Suo 朱索
Pearl Knot 珠儿结
Kylin 麒麟
The King of Hell 阎王
Four spirits 四大神兽
The History of the Song Dynasty 《宋史》
Jinchu place 荆楚之地
Chang Ming Fu Gui长命富贵
Chang Ming Bai Sui长命百岁
Ji Xiang Ru Yi 吉祥如意
Questions
1.What is the earliest form of the long-life lock？
2.When is it not only popular with women and children, but also with the men?
3.When is it usually specifically used for children?
4.During the Ming and Qing Dynasties and during the Republic of China, which material does the long-life locks become extremely popular in China?
5.Which pattern designs of the long-life locks are mainly used?
Answers
1. Zhu Suo,a colorful rope in the Han Dynasty, is the earliest form of the long-life lock.
2. In the Song Dynasty
3. In the Ming Dynasty
4. The silver long-life lock
5. Traditional auspicious patterns
References
- Gong Ting 宫婷, Longevitylock-Chinese Typical Amul, 长命锁_中国式护身符(2013)
- Wang Haina 王海娜,A Brief Study of Long-life Lock, 长命锁及其演变 (2011)
- The History of the Later Han Dynasty，《后汉书 ·礼仪志》:“五月五日, 朱索五色印为门户饰, 以难止恶气。”
- Ying Zhao应劭,《风俗演义·佚文》:“五月五日以五彩丝系臂,曰长命缕, 一名续命缕, 一名辟兵缯, 一名五色缕,一名朱索 。”
- Zhou Chu 周处,《风土记》,晋代:“荆楚人端午日以五彩系臂, 辟兵鬼气, 一名长命缕, 今百索也。”
- The History of the Later Han Dynasty，《宋史 ·礼志》:“ … …以一彩丝续命缕分赐百官 。”
--Li Yihao (talk) 12:11, 13 June 2021 (UTC)
ok
Liú Tíngyáng 刘廷阳 The Ethnic Minorities' Costumes
A.Introduction
China is a country of ancient civilization, with a long history and splendid culture. As an element of culture, the costume has made great contributions to the reproduction and development of the Chinese nation. And the costumes of 55 ethnic minorities are also wonderful flowers in the kingdom of Chinese costumes, blooming with dazzling brilliance. (Wei Ronghui, 2004, preface1) It conveys the political, economic, cultural, religious, aesthetic, and other aspects of the minority information. Its formation and evolution not only marks the gradual improvement of the material and spiritual civilization of the Chinese nation, but also the concentrated expression of aesthetic concepts and cultural characteristics. (Wei Ronghui, 2004, preface2)
B.The Types of National Costumes
There are various national costumes. Here, we will only introduce the most basic four categories: robes, trousers, jackets, and skirts.
1. The robe The robe is one of the oldest clothing styles in China. Some ethnic groups, who live in the plateau, mountainous area, or grassland where the climate is cold or the temperature changes intensely between day and night, make robes with animal skins as raw materials. The gowns keep them warm, can be easily removed, and can be used for more than one garment. As a result, robes have strong practicality and applicability. With the development of society, it is various raw materials and styles of robes, like cloth robes, silk robes and so on.（Qi chunying, 2018, 12）
2.Pants Since an ancient King, King Wuling of Zhao in the Warring States era, carried out the reform of "Clothes Worn by Hu People when Riding a Horse and Shooting", pants have become the common costume of the southern and northern ethnic groups. Because of the cold climate, pants are more practical in the north, which can not only protect against the cold weather and keeping warm, but also adapt the life on horseback archery.（Qi chunying, 2018, 20）
3.Coat The jacket is the common clothing of all ethnic groups. Some of them are short to the chest, to the large one; Some sleeveless, some sleeves one or two meters long; Some chamberlain, some chamberlain; Some have a collar, some have no collar, full head. From the craft, there are batik, cross-stitch, embroidery or sewing shellfish beads, silver pieces, and other ornaments. （Qi chunying, 2018, 22）
4.Dress The dress of ethnic minorities in China have various styles and exquisite craftsmanship. From the length of the point of view, there are long skirts, tube skirts, dresses and so on; From craftsmanship of the point of view, there are flower skirt, pleated skirt, ribbon skirt, batik skirt and so on.（Qi chunying, 2018, 35）
C.Four Ethnic Minority Costumes Introduction
The Zhuang nationality, the Hui nationality, the Manchu, and Uyghur are the four most populous ethnic groups in China, so we choose these four to introduce. 1. The Zhuang nationality The Zhuang men usually wear double-breasted clothes, with six to eight pairs of cloth buttons nailed, a small pocket sewn on the chest, and two large pockets sewn on the abdomen. Their trousers were short and wide, with wearing embroidered turbans. They always wear straw sandals on weekdays and wear wide-cloth shoes on festival days. The Zhuang women usually wear dark low collar jackets, collars, cuffs, with the edge of the embroidered color lace, matched with the wide black trousers. In some areas, Zhuang women wear black pleated skirts decorated with embroidery. They love to wear an apron with a cloth sticker and embroideries. It’s their tradition to wearing an embroidered black kerchief, with embroidered shoulder pads made of homespun fabric to go to festivals or the special market field. The national costume of the Zhuang nationality is mostly made of Zhuang brocade. Zhuang brocade is an original textile handicraft created by the Zhuang group. It was a famous tribute in Tang, Song, Ming, and Qing Dynasties which is loved by the royal family and the common people. (Wei Ronghui, 2004, 27)
2.The Hui nationality The Hui nationality’s clothes and ornaments are simple and bright in color. Elderly men generally wear a black or gray long shirt or low round collar button-down shirt; middle-aged people usually wear white button-down shirts, coats black vests, wearing white pants, with socks made of white cloth and homemade squared, curved shoes or hemp sandals. Most young people wear the same clothes, trousers, and shoes as the Han nationality except for religious ceremonies. Women wear big right club clothes. Children's clothes, regardless of men and women, are made of printed cloth and other pure colors and embroidered with various patterns on the cuffs and pants knees, which are lively and beautiful. (Wei Ronghui, 2004, 7) The origin of some costumes of the Hui nationality, especially its religious personnel, is related to the influence of Arabia, neighboring countries, and Islam. For example, the custom of Hui women wearing a headcover is influenced by Arab women. About the dress color, the Hui nationality advocates white, such as white shirt, white cover, etc., which is caused by religious belief. Muhammad taught his parishioners that white is the best dress. Also, the Hui people regard white as the cleanest color. (Wei Ronghui, 2004, 10)
3.The Manchu For an ethnic group regarded as a horseman and archer, all the costumes should be neat, so as to facilitate galloping on horseback. For example, their trousers have front, back, left, and right sides to open around, obviously for the convenience of riding. Also, like the "Arrow Sleeve" on the Manchu robes, it is connected in the robes cuff of a long about half a foot of the semicircular cuff; because of its shape like "horseshoe", so it is also known as the "Horseshoe Sleeve".(Xu Haiyan, 2004, 5) Among the Manchu costumes, the most prominent one is the well-known cheongsam. Cheongsam is the clothing of the Manchu people. At first, it is not the favorite of the Manchu women, but the clothes worn by men, women, and children all year round. It has the same style, with different monolayer, double-deck, and leather designs. Manchu people are also called "cheongsam people". One of the characteristics of the robe is that it does not show people’s bodies, especially in its later period. It is wide and straight, with trousers inside the cheongsam, and sometimes the legs of the trousers can be revealed faintly under the cheongsam. The second characteristic of the cheongsam is the thick fabric. It has many jacquards with tedious ornaments. (Xu Haiyan, 2004, 6)
4.Uyghur Uyghur men generally wear a full-length shirt inside and a long gown with wide sleeves and button-down outside, which is commonly known as "Loop". Their pants always in blue, gray, black, white, and brown. The belt is woven of fine cotton thread with a pattern embroidered. (Wei Ronghui, 2004, 15) Women usually wear knee-length colored shirts inside and skirts with wide sleeves and edges outsides. In the past, they used to wear black velvet on their dresses, with silver and gold pieces at the edge and lace decorations. In winter, they also wore a long "Loop". Now, most women like to wear western jackets and skirts, wearing stockings, and children often wear short clothes. Uyghur men and women must wear floret hats when they go out. in winter, they prefer leather hats and boots. Their clothes are made of fine materials, usually pure wool, silk, cotton, and real leather. (Wei Ronghui, 2004, 16)
Terms and Expressions
1.Robe 袍子
2.Arabia 阿拉伯半岛
3.Islam 伊斯兰教
4.Clothes Worn by Hu People when Riding a Horse and Shooting 胡服骑射
5.The Manchu 满族
6.Arrow Sleeve 箭袖
7.Horseshoe Sleeves 马蹄袖
8.Cheongsam 旗袍
9.Uygur 维吾尔族
10.Loop 袷袢
11.Fine cotton thread 细棉线
12.Real leather 真皮
Questions
1.What kinds of information could Ethnic Minorities' Costumes convey?
2.What are the most basic four categories of Ethnic Minorities' Costumes?
3.Which nationality’s fabric was a famous tribute in ancient times?
4.What color the Hui people advocate?
5.What’s the common material of Uyghur’s costumes?
Answers
1.It conveys the political, economic, cultural, religious, aesthetic, and other aspects of the minority information.
2.There are robes, trousers, jackets, and skirts.
3.Zhuang brocade.
4.White.
5.Their clothes are usually made of pure wool, silk, cotton, and real leather.
References
1.Qi Chunying祁春英.(2018).中国最美 第3辑 民族服饰[China's Most Beautiful Series 3nd National Costumes]. Hubei Fine Arts Publishing House湖北美术出版社.
2.Wei Ronghui韦荣慧(2004).中国少数民族服饰 [Chinese Minority Costumes].中国画报出版社China Pictorial Publishing House.
3.Xu Haiyan徐海燕(2004).满族服饰[Manchu costume].沈阳出版社Publishing House.
--Liu Tingyang (talk) 10:18, 14 June 2021 (UTC)
Chinese Incense Culture - Liú Zhuōfán 刘卓凡 201930096025
Chinese incense culture has thousands of years of historical accumulation, and the world of incense is profound and colorful. Its concept and practice have also penetrated into all aspects of Chinese traditional culture. Incense culture is a rare cultural category with the body practice of olfactory senses as the core and it is indispensable to explore Chinese traditional culture. (Sun Liang, 2018:5)
A. Overview of Chinese incense culture
Chinese incense culture is a cultural practice and ideology of fragrant smell centering on the recognition, processing and usage of various spices developed by the Chinese people in the long process of civilization. Incense can not only be used to connect with God, but also to help people be sensible or reasonable. In the cultural life of Chinese people, all the systematic cultural practices based on the sense of smell to experience and recognize the fragrance can be regarded as the incense culture. Olfaction, perfume material, odour and smog are the four basic aspects of the study of incense culture. (Sun Liang, Zhang Duo, 2018:6)
Olfaction is not only a physiological issue but a cultural one. From the cultural point of view, different cultural groups have great differences in the perception and acceptance of olfaction. For example, the smell of stinky tofu in southern China is a scent that can induce appetite, but it is described as stinky. Indeed, many people do not think the smell of stinky tofu is fragrant. So there are great differences in the olfactory experience of certain odors in human cultures. (Sun Liang, Zhang Duo, 2018:6)
The smog produced by burning incense is also paid attention to. In the use of incense by Chinese people, burning is one of the most important ways, especially in religious field. The smog produced by burning incense is often a sign of the effectiveness of rituals. It is composed of visible particles, which gather and move in the air in large quantities, forming a visual sensation besides the smell of fragrance. Smog is the byproduct of burning incense, but it also has its own unique cultural meaning. For example, in ancient heaven worship ceremony, a column of smog is the medium connecting the heaven and human beings. (Sun Liang, Zhang Duo, 2018:6)
Perfume material is the basis of incense culture. Commonly used perfume materials can be roughly divided into three categories: plant, animal and auxiliary materials. Plant material accounts for the largest proportion, about 90%. Normally, it is divided its into six kinds: flower, leaf, fruit, root, stem, wood and lipid. Animal material refers to the aromatic substances obtained from the secretions of animals, mainly from the secretions or body surface attachments of animals such as sperm whale (ambergris), forest musk deer (musk), hemifusus tuba (Turbo cornutus Solander) and so on. Auxiliary materials such as carbon, Glauber's salt and honey normally do not give off a strong fragrant smell, but have special uses in producing incense. The production form of incense products can be divided into raw incense materials, string incense, stick incense, dish incense, tower incense, cone incense, pill, powder, cream, soup, sachet, pillow and other main categories. (Sun Liang, Zhang Duo, 2018:8-9)
B. Development
In ancient times, the ancestors of the Chinese nation began to burn woods to produce smog to pray to the heaven and the earth. This is the beginning of the sacrificial incense. Meanwhile, incense used in normal life can also be traced back to ancient times. (Liu Yuying, Hu Jianjun, Yi Xin 2018:82)
During the Han Dynasty, the development of incense culture in China began to take shape. Incense was popular among the upper classes represented by the nobles and princes. The introduction of incense into the etiquette of royal court was also an important sign of development. (Liu Yuying, Hu Jianjun, Yi Xin 2018:82)
In the Sui and Tang dynasties, incense had developed to the stage of refinement and systematization. The kinds of incense are more abundant, and the production and use of incense are more elaborate. (Liu Yuying, Hu Jianjun, Yi Xin 2018:82)
The Song Dynasty was another glorious period in the history of Chinese incense culture. At this time, the development of incense culture also entered a peak stage. Incense culture has penetrated into every aspect of society. Besides, incense was very popular among the literary people in the Song Dynasty. It also enriches the inner content and artistic quality of incense culture. (Liu Yuying, Hu Jianjun, Yi Xin 2018:83)
The incense culture of the Ming and Qing Dynasties inherited the prosperity of the Song and Yuan Dynasties and developed further. Incense is further popular in society. In particular, there are many depictions of incense in novels and operas of the Ming and Qing Dynasties such as A Dream in Red Mansions. The extensive depiction of incense in the book also reflects the wide use of incense. (Liu Yuying, Hu Jianjun, Yi Xin 2018:83)
Since the late Qing Dynasty, Chinese society has suffered an unprecedented impact. Consequently, the incense culture has also entered a difficult period. (Liu Yuying, Hu Jianjun, Yi Xin 2018:83)
C. Incense in folk custom
Incense can be found everywhere, from exorcism to pest prevention, from the expression of missing to the expression of love, from house cleaning to banquets and entertainment. The beauty culture derived from cosmetics with incense as the core is also a focus of folk custom study. (Sun Liang, Zhang Duo, 2018:14)
Chinese people use incense on many important festivals. Incense is used to worship ancestors during the Spring Festival. It is also used when sweeping tombs on the Tomb-Sweeping Day. The Dragon Boat Festival is full of incense. From the hanging of mugwort and calamus at the door to the wearing of sachets, these are the embodiments of incense culture. (Sun Liang, Zhang Duo, 2018:14)
Ancestor worship is the core value element in Chinese folk beliefs, and incense must be used to worship ancestors. Incense is not only a medium to communicate with ancestors, but also a symbol of family prosperity. (Sun Liang, Zhang Duo, 2018:14)
When expressing love, affection, blessing and missing, Chinese people often choose sachets as keepsake. Sachet embodies people's cherishing of beautiful feelings in family life. It symbolizes auspicious happiness and peace and can be used to dispel disease and evil. Also, it represents begging for sons and prolonging life. (Sun Liang, Zhang Duo, 2018:14)
D. Comparison between the east and the west
In the long process of the development of incense culture, China and the West have different characteristics in the way of using incense and different attitudes towards incense. Westerners refine various perfume materials into fragrant oils and essence, and mix them into perfumes, which are sprayed on the body, clothes or rooms. By contrast, China and the eastern countries affected by it, such as Korea and Japan, retain and develop burning incense, wearing incense products and other ways. They have formed the incense culture for thousands of years. (Guo Xue, 2015)
Terms
Olfaction 嗅觉
Odor 气味
Heaven worship ceremony 祭天仪式
Sperm whale (ambergris) 抹香鲸（龙涎香）
Forest musk deer (musk) 林麝（麝香）
Hemifusus tuba (Turbo cornutus Solander) 管角螺（甲香）
Glauber's salt 芒硝
Exorcism 驱邪
Mugwort and calamus 艾草和菖蒲
Fragrant oils 香油
Essence 香精
Perfume 香水
Questions
1.What are the basic aspects of the study of incense culture?
2.What is the basis of incense culture?
3.What categories can perfume materials be divided into?
4.When does Chinese incense culture develop best?
5.What are the functions of incense in Chinese folk custom?
6.What is the difference between west and east incense cultures?
Answers
1. Olfaction, perfume material, odour and smog are the four basic aspects of the study of incense culture.
2. Perfume material is the basis of incense culture.
3. Commonly used perfume materials can be roughly divided into three categories: plant, animal and auxiliary materials.
4. Song dynasty.
5. Incense can be found everywhere, from exorcism to pest prevention, from the expression of missing to the expression of love, from house cleaning to banquets and entertainment. It also can be found in cosmetics. Chinese people use incense on many important festivals. Incense must be used to worship ancestors. It can be used to express love, affection, blessing and missing.
6. Westerners refine various perfume materials into fragrant oils and essence, and mix them into perfumes. China and the eastern countries affected by it, such as Korea and Japan, retain and develop burning incense, wearing incense products and other ways.
References
- Guo Xue 郭雪, To probe into Chinese and western culture based on the difference of using incense, 从用香差异窥探中西方文化 (2015) http://art.people.com.cn/n/2015/0309/c206244-26660620.html
- Liu Yuying 刘玉莹, Hu Jianjun 胡建君, Yi Xin 一心, On the revival and development of Chinese incense culture, 浅谈中国香文化的复兴与发展 (2018)
- Sun Liang 孙亮, Zhang Duo 张多, The academic domain and contemporary revival of Chinese incense culture 中国香文化的学术论域与当代复兴 (2018)
--Liu Zhuofan (talk) 13:24, 23 May 2021 (UTC)
Péng Jiāyù 彭佳钰
I suggest to write my final exam paper about "Wu Zetian".ok
Shū Lín 舒琳 Tea-picking Opera
I suggest to write my final exam paper about "Tea-picking Opera ". Ok.
A.Overview
Tea-picking opera is a kind of opera category popular in Jiangxi, Hubei, Anhui, Fujian, Guangdong and other provinces, and it is one of the regional cultures with strong local characteristics in China[7]. It is produced in the Ming and Qing Dynasties, and has more than 400 years of history of a wide variety of distinctive features. On May 20, 2006, tea-picking opera was approved by the State Council and included in the first batch of the National Intangible Cultural Heritage Lists.[1][2]
Tea-picking opera in the provinces take local names to distinguish according to the regions, such as Guangdong's "Guangdong North Tea-picking Drama", Hubei's "Yangxin Tea-picking Drama," "Yellow Mei-Tea Opera," "YuChun Tea-picking Opera" and so on.
B.The Origin of Tea-peaking Opera
The production of tea-picking opera is related to the abunance of tea. According to historical records, in the Ming Dynasty, in the tea area in south of Fujian Province, east, south and north of Jiangxi Province, working women go up the mountain, picking tea while singing mountain songs to encourage labor enthusiasm.
In special festival or time in rural areas such as at the time of widespread tea tress in March and harvesting, people sing in the tea forest with the joy of harvesting. Mountain songs and ditties sang by them are in vivid form and rich contents expressing the joy of labor and love between men and women. This kind of mountain songs circulating in the tea area, are known as "tea-picking songs." Tea-picking opera from the folk tea-picking songs and tea-picking lamp singing development, and then become a kind of folk drama with characters and storyline. Because it is generally only two female roles and one clown, or a painted role, a female role, and a clown three persons’ performance, it is also known as “Three characters’ troupe.”[3] The drama has many species, such as jiangxi tea-picking opera, that is, Gannan Tea-picking Opera i, Fuzhou tea-picking opera, Nanchang tea-picking opera, Gaoan tea-picking opera, Wuning tea-picking opera, Gandong tea-picking opera, Ji'an tea-picking opera, Jingdezhen tea-picking opera and Ningdu tea-picking opera and so on.
There are several stages from tea-picking song to tea-picking opera. Tea-picking songs were first sung in minor tunes, with only four lyrics per line, which were lively and euphemistic. After the development of the tea-picking song, it was composed of tea-picking ditty, which was called twelve-month tea-picking songs. Later, the twelve-month tea-picking songs combined with folk dances became tea-picking lantern opera. The form of tea-picking lantern opera is relatively simple, pure collective performance of song and dance, but it has taken a step towards the tea-picking opera.
C.The Development of tea-peaking opera
Tea-picking opera has experienced a tortuous process of development. In the Ming Dynasty, tea farmers in the Jiulong Mountain Tea District of Anyuan County, Jiangxi Province, which is rich in famous tea, often performed impromptu programs related to tea picking in the form of tea-picking lantern opera in order to receive tea merchants from Guangdong. This kind of performance is already the prototype of tea-picking opera.
Before the founding of the People's Republic of China, the performance of tea-picking opera was often interfered and banned by the rulers. The first reason was that there were few literati involved in tea picking, and the cultural level of the artists was not high, so the rulers thought these plays were very vulgar and difficult to be elegant. Secondly, in order to cater to the audience, the actors added some unhealthy contents during the performance. Some plays appear to be very vulgar and indecent, and even disturb social order.
In the middle Guangxu (光绪) period of the Qing Dynasty (about 1891), some Qi opera artists and half-troupe performers could independently perform high-tone and disordered-tone repertoire. The original plays of Qi opera and half-troupe repertoire coexisted on the half-troupe stage, so they were called Half Mix Opera. Around 10 years in the Republic of China, Half Mix Opera disintegrated, caused the reproduction of “seven tight eight loose nine free and unrestrained” half-troupe. They performed in the mountains until the eve of liberation.
After the foundation of the People's Republic of China, professional opera troupes were established. They not only excavated, arranged and made excellent traditional repertoire, but also created a number of new repertoires, such as One Heart, Send Straw Shoes, New Neighbors and the adaptation of Legend of Luang Knife. Ningdu Hakka Tea Picking Opera not only has a complete range of skills, beautiful tunes, but also has a variety of performance procedures. It has become a regular drama class capable of singing and dancing, modern and ancient, large and small, and martial arts, and has become a unique style of drama in China.
If there is no tea picking and other tea work, there will be no tea-picking songs and dances, and no tea-picking opera, which is widely popular in many provinces and regions in southern China. Therefore, tea picking is not only related to tea, but also a splendid culture derived from tea culture in the field of opera or absorbed by opera culture.
D.Gannan Tea-peaking Opera
Gannan Tea- Picking Opera is an important school of Tea picking Oper, mainly popular in southern Jiangxi, that is, Ganzhou. In the tea-picking opera groups, the characteristics of tea picking in southern Jiangxi are reflected in the following aspects: First, it belongs to the Hakka ethnic group. The dialect of the South Jiangxi is Hakka, so the traditional repertoire of Gannan Tea-peaking Opera is basically performed in Hakka. Second, tea picking in southern Jiangxi originated early and had an impact on the early development of various tea picking operas.
Its origin can be traced back to the late Ming and early Qing dynasties. In the first year of Qianlong's reign, Yu Zhaoyue, governor of Jiangxi Province, mentioned in a note that “the custom of pretending to be a sex play is forbidden”[4]485. Drama experts believe that the “sex play” here is the tea-picking opera in southern Jiangxi Province[5], so it is speculated that its birth date should be earlier than this. Thirdly, in terms of artistic form, the traditional repertory of tea-picking opera in southern Jiangxi still retains the form of “three small operas”. And many other types of tea-picking opera have a trend of development to the big drama. For example, tea-picking opera in northern Jiangxi (Jiujiang tea-picking opera, Nanchang tea-picking opera, etc.), influenced by Huangmei Opera in Hubei, has developed into a “half-troupe”, which can be used to perform ancient costume drama. In addition, a symbolic difference between different types of operas is music. The music of the tea-picking opera in southern Jiangxi belongs to the combination of Qupai（曲牌）. There are as many as two or three hundred Qupai, with beautiful melodies, which are well known to the local people[6].
The main performance forms of Gannan Tea-peaking Opera include dwarf step, single sleeve and fan, which deeply depict the character image and perform the story plot incisively and vividly. The main Musical Instruments used in the accompaniment of Gannan Tea-peaking Opera are hooks, Suona horn, bamboo flute, gong, drum, cymbals and other folk instruments, which is full of local atmosphere.
As a native Gannan culture, tea picking is a portrayal of Hakka people's life in the mountains. It expresses the joys and sorrows of Gannan people's life through comedy and farce. It is also a folk activity created in the tea-picking work and the main leisure and entertainment activity of the people after dinner. Tea-picking opera is a local opera developed from folk songs and dances and lanterns, and its repertoire mostly reflects the life of working people. Its music and singing styles are also folk songs, so it is deeply loved by the people.
The general characteristics of Gannan tea-picking opera are: cheerful performance, humorous, singing and dancing, strong comedy, rich local flavor, quite popular with the masses. The representative works include Pairs of Flowers, Picking Tea in Jiulong Mountain, Digging Bamboo Shoots and so on.
Terms
Tea-picking opera 采茶戏
Gannan Tea-picking Opera赣南采茶戏
Fuzhou tea-picking opera 抚州采茶戏
Nanchang tea-picking opera 南昌采茶戏
Gaoan tea-picking opera 高安采茶戏
Wuning tea-picking opera 武宁采茶戏
Gandong tea-picking opera 赣东采茶戏
Mountain songs 山歌
the twelve-month tea-picking songs 十二月采茶歌
Tea-picking lantern opera 采茶灯
Three characters’troupe 三角班
The National Intangible Cultural Heritage Lists 国家级非物质文化遗产名录
Qi opera 祁剧
Half Mix Opera 半整杂
high-tone and disordered-tone 高腔和弹腔
The Republic of China 民国
half-troupe stage 半班舞台
Legend of Luang Knife 《銮刀记》
Questions
1. Where is tea-picking opera popular?
2. When does tea-picking opera originate?
3. What is the nickname of tea-picking opera?
4. What are the main performance forms of Gannan Tea-peaking Opera?
5. What are the general characteristics of Gannan tea-picking opera?
6. What are the representative works of Gannan tea-picking opera?
Answers
1. Tea-picking opera is a kind of opera category popular in Jiangxi, Hubei, Anhui, Fujian, Guangdong and other provinces.
2. It is originated in the Ming and Qing Dynasties.
3. Because it is generally only two female roles and one clown, or a painted role, a female role, and a clown three persons’ performance, it is also known as “Three characters’ troupe.”
4. The main performance forms of Gannan Tea-peaking Opera include dwarf step, single sleeve and fan.
5. The general characteristics of Gannan tea-picking opera are: cheerful performance, humorous, singing and dancing, strong comedy, rich local flavor, quite popular with the masses.
6. The representative works include Pairs of Flowers, Picking Tea in Jiulong Mountain, Digging Bamboo Shoots and so on.
References
- [1]采茶戏简介和影响_采茶戏历史_中国戏曲网 (xi-qu.com)
- [2]国务院关于公布第一批国家级 非物质文化遗产名录的通知 国发〔2006〕18号 ．中国政府网
- [3]试论我国采茶戏的形成与发展 - 中国知网 (cnki.net) 朱飞晔 2016
- [4]清实录( 第九册) ·高宗纯皇帝实录: 卷十九［G］．北京: 中华书局，1985: 485．
- [5］苏子裕．赣南采茶戏的发展历程及其艺术形态［G］∥中国戏曲声腔剧种考．北京: 新华出版社，2001: 192．
- [6]从传统到现代:赣南采茶戏的变迁与多元传承 - 中国知网 (cnki.net) 王静波
- [7]施德玉．中国地方小戏音乐之探讨［M］．台北: 学海出版社，2000: 241．
- [8]采茶戏_百度百科 (baidu.com)
--Shu Lin (talk) 05:30, 14 June 2021 (UTC)
Sū Xiāo 苏潇 The Cultural Connotation of Mount Tai
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