Cult Ov 2 Fin Exam 2024

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Tu Hairong |

1.1 Introduction

1.2 Historical Background

1.3 Traditional Customs and Practices

1.4 Contemporary Celebrations

1.5 Cultural and Social Impact

1.6 Conclusion

1.7 Terms and Expressions

1.8 Questions

1.9 References

Chen Zhuo |Chinese Painting: A Thousand Miles of Rivers and Mountains

Introduction

"A Thousand Miles of Rivers and Mountains" is a masterpiece by Wang Ximeng, a painter of the Northern Song Dynasty. This painting, known for its magnificent depiction of China’s natural landscapes, epitomizes the peak of traditional Chinese landscape painting, particularly in the genre of green landscape painting. The painting is not only a representative of green landscape painting but also a treasure of traditional Chinese painting art.

Wang Ximeng: The Prodigy Painter

Wang Ximeng (1096-?), a famous painter in the late Northern Song Dynasty, is renowned for his painting "A Thousand Miles of Rivers and Mountains." In his teens, he entered the palace ‘painting school’ as a student but was not initially outstanding. However, under the personal tutelage of Emperor Huizong, his skills flourished remarkably. Emperor Huizong, himself an accomplished artist and patron of the arts, saw great potential in Wang Ximeng and invested time in his education. By the age of eighteen, Wang had completed his magnum opus, "A Thousand Miles of Rivers and Mountains," a testament to both his natural talent and rigorous training. (from baidu)

The Historical Context of the Northern Song Dynasty

The Northern Song Dynasty (960-1127) was a period marked by significant cultural, economic, and technological advancements in China. Following the chaotic Five Dynasties and Ten Kingdoms period, the Northern Song era brought stability and prosperity, with remarkable developments in agriculture, commerce, and urbanization. The political structure, heavily influenced by Confucian ideals, promoted intellectual and artistic endeavors. During this golden age, the arts, including painting, literature, and calligraphy, reached new heights, with scholars and artists enjoying substantial support from the state. (from baidu)

Artistic Brilliance and Technical Mastery

"A Thousand Miles of Rivers and Mountains" exemplifies the sophisticated techniques and aesthetic principles of Song Dynasty landscape painting. Spanning over 11 meters in length, this handscroll painting captures an expansive and varied landscape with meticulous brushwork and a harmonious color palette. Wang Ximeng’s use of the blue-green landscape technique, employing mineral pigments like malachite and azurite, imbues the painting with a vibrant yet serene quality. The painting’s composition is both grand and intricate. The undulating mountains, rendered with fine brushstrokes and detailed texture, create a sense of depth and three-dimensionality. The depiction of water bodies, including rivers, waterfalls, and streams, adds a dynamic element to the landscape, reflecting the natural beauty of Jiangnan, a region known for its picturesque scenery. The architectural elements, such as pavilions and thatched cottages, are meticulously detailed, showcasing the architectural style of the time Wang Ximeng’s use of color is a defining feature of the painting. The blue-green technique, utilizing mineral pigments, gives the painting its distinctive and vibrant appearance. The use of these pigments, combined with careful layering and shading, creates a sense of depth and luminosity. The ochre background provides a warm contrast to the cooler tones of the landscape, enhancing the overall harmony of the composition. (Qin, Shuhai. Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". 36-38.)

Detailed Analysis of Key Sections

To further appreciate the intricacies of "A Thousand Miles of Rivers and Mountains," it is essential to examine specific sections of the painting in greater detail. Each segment reveals Wang Ximeng’s exceptional skill and the painting’s profound cultural significance. The central section of the painting features towering mountains, their peaks shrouded in mist. Wang Ximeng’s use of varying brushstrokes and ink washes creates a sense of depth and texture, making the mountains appear both majestic and ethereal. The fine chapping technique used to depict the rock surfaces adds to the realism and complexity of the landscape. Water is a prominent element in the painting, depicted with a fluidity and grace that contrasts with the solidity of the mountains. The rivers and streams wind through the landscape, reflecting the light and adding movement to the scene. The waterfalls, with their cascading waters, are rendered with a dynamic energy, capturing the viewer’s attention and drawing the eye through the composition. Scattered throughout the landscape are various architectural structures, including pavilions, temples, and bridges. These buildings, though small, are rendered with meticulous detail, reflecting the architectural style and construction techniques of the Northern Song period. The placement of these structures within the landscape highlights the harmonious relationship between human habitation and the natural environment. The human figures in the painting, while small in scale, are depicted with individuality and character. Fishermen, scholars, and travelers are shown engaging in their daily activities, adding a narrative dimension to the landscape. These figures not only populate the scene but also serve to emphasize the scale and grandeur of the natural surroundings. (Feng, Haitao. Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). 22-28, 38-39. )

Symbolism and Cultural Connotations

Beyond its visual splendor, "A Thousand Miles of Rivers and Mountains" is rich in cultural symbolism. The landscape, architecture, and figures within the painting reflect the ancient Chinese literati’s philosophy and aesthetics. The painting embodies the Daoist ideal of harmony between humans and nature, a central theme in Chinese culture. The serene and idyllic scenery represents a utopian vision, an escape from the political and social turmoil of the era. The figures in the painting, although small in scale, are portrayed with remarkable individuality. Fishermen, travelers, and hermits are depicted engaging in various activities, symbolizing different aspects of life and society. These figures not only add a narrative dimension to the painting but also emphasize the close relationship between people and their natural environment. The painting reflects the Daoist and Confucian ideals that were prevalent during the Northern Song Dynasty. The harmonious integration of human and natural elements embodies the Daoist concept of harmony with nature. At the same time, the depiction of scholars and hermits in the landscape reflects the Confucian value placed on intellectual and contemplative pursuits. (Lin, Shunyang & Xu, Hui. Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". 12, 114-116.)

Impact and Legacy

Wang Ximeng’s "A Thousand Miles of Rivers and Mountains" is a milestone in the history of Chinese landscape painting. Its innovative techniques, grand composition, and rich colors influenced generations of artists. The painting set a new standard for green landscape painting, inspiring many subsequent artists to adopt and adapt its techniques and style. The painting’s influence extends beyond China. It is celebrated internationally as a masterpiece of Chinese art, showcasing the depth and sophistication of traditional Chinese culture. The painting’s ability to convey a sense of timeless beauty and tranquility has earned it a place among the most revered works of art in the world.

Conclusion

"A Thousand Miles of Rivers and Mountains" by Wang Ximeng is not merely a landscape painting; it is a profound expression of the Northern Song Dynasty’s cultural and artistic achievements. Through its exquisite details and grand vision, the painting encapsulates the harmony between nature and humanity, a core value of Chinese philosophy. Wang Ximeng’s masterpiece continues to inspire and captivate audiences, a testament to the enduring power of art to transcend time and space.

Terminology

A Thousand Miles of Rivers and Mountains 千里江山图 Wang Ximeng 王希孟 the Northern Song Dynasty 北宋朝 the palace ‘painting school 宫中“画学” tutelage 侍奉 Emperor Huizong 宋徽宗 magnum opus 杰作 Five Dynasties and Ten Kingdoms 五代十国 blue-green landscape 青绿山水 malachite 石青 azurite 石绿 Jiangnan 江南 thatched cottages 茅屋

Questions

1. What is the significance of Wang Ximeng's "A Thousand Miles of Rivers and Mountains"? 2. How did Emperor Huizong influence Wang Ximeng's artistic development? 3. What advancements in society and culture occurred during the Northern Song Dynasty? 4. What are the main elements depicted in "A Thousand Miles of Rivers and Mountains"? 5. How does the painting reflect the cultural and philosophical ideals of the Northern Song Dynasty? 6. What impact has "A Thousand Miles of Rivers and Mountains" had on subsequent generations of artists?

References

1. https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
2. https://www.dpm.org.cn/collection/paint/228354.html
3. http://www.chinashj.com/sh-gdhh/10245.html
4. http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
5. Lin, Shunyang & Xu, Hui. (2022). Aesthetic Ideas and Artistic Value of "A Thousand Miles of Rivers and Mountains". Beauty and Times (China), 12, 114-116.
6. Feng, Haitao. (2023). Painting Style—Study of the Pictorial Language in "A Thousand Miles of Rivers and Mountains" (Part 1). Art Research, (01), 22-28, 38-39.
7. Qin, Shuhai. (2023). Study of the Painting Techniques in "A Thousand Miles of Rivers and Mountains". Oriental Collection, (09), 36-38.
8. Xiao, Pengfei. (2023). On the Realm of Wang Ximeng’s "A Thousand Miles of Rivers and Mountains". Journal of Fuyang Vocational and Technical College, (02), 76-78.

简介

《千里江山图》是北宋画家王希孟的杰作。这幅画以其壮丽的中国自然景观描绘而闻名，堪称传统中国山水画的巅峰，特别是在青绿山水画领域。此画不仅是青绿山水画的代表作，也是传统中国绘画艺术的瑰宝。

天才画家王希孟

王希孟（1096-?），是北宋末年的著名画家，以其作品《千里江山图》闻名。在十几岁时，他进入宫中的“画学”学习，但起初并不出众。然而，在宋徽宗的亲自指导下，他的技艺得到了显著提升。宋徽宗本人是一个才华横溢的艺术家，也好支持别人搞艺术，他看到了王希孟的巨大潜力，投入了大量时间来培养他。在十八岁时，王希孟完成了他的杰作《千里江山图》，这不仅证明了他的天赋，也展示了他经过严格训练所取得的成果。

北宋时期的历史背景

北宋（960-1127）是中国文化、经济和技术显著进步的时期。在经历了混乱的五代十国时期之后，北宋带来了稳定和繁荣，在农业、商业和城市化方面取得了显著发展。以儒家思想为主导的政治结构促进了知识和艺术的发展。在这个黄金时代，绘画、文学和书法等艺术达到了新的高度，学者和艺术家得到了国家的极大支持。

精湛技术

《千里江山图》展示了宋代山水画的复杂技艺和美学原则。画卷长达11米以上，捕捉了广阔多样的景观，以细腻的笔触和和谐的色彩表现出来。王希孟采用了青绿山水技法，使用石青和石绿等矿物颜料，使这幅画充满了生机和宁静。 画面的构图既宏大又复杂。起伏的群山通过细腻的笔触和细致的纹理描绘出深度和三维感。水体的描绘，包括河流、瀑布和溪流，为景观增添了动态元素，反映了以风景如画著称的江南的自然美。建筑元素如亭台和茅屋细致入微，展示了当时的建筑风格。

象征意义和文化内涵

《千里江山图》不仅在视觉上引人入胜，还充满了文化象征意义。画中的山水、建筑和人物反映了古代文人雅士的哲学和美学。这幅画体现了人与自然和谐的道家理想，这是中国文化的核心主题。宁静而田园的景色代表了一种乌托邦愿景，是对时代政治和社会动荡的逃避。

画中的人物虽然规模较小，但刻画得极具个性。渔夫、旅行者和隐士从事各种活动，象征着生活和社会的不同方面。这些人物不仅为画面增添了叙事维度，还强调了人与自然环境的紧密关系。

影响

王希孟的《千里江山图》是中国山水画史上的一座里程碑。其创新的技法、宏大的构图和丰富的色彩影响了几代艺术家。这幅画为青绿山水画设定了新的标准，激励了许多后来的艺术家采用和改编其技法和风格。

这幅画的影响不止于国内。它作为中国艺术的杰作在国际上备受赞誉，展示了传统中国文化的深度和复杂性。画作所传达的美和宁静感使其成为世界上最受尊敬的艺术作品之一。

结论

王希孟的《千里江山图》不仅仅是一幅山水画；它还是北宋文化和艺术成就的深刻表达。通过其精美的细节和宏大的视野，这幅画捕捉了自然与人类和谐的核心价值。《千里江山图》继续激发和吸引观众，证明了艺术跨越时间和空间的持久力量。

参考文献

1. https://baike.baidu.com/item/%E5%8D%83%E9%87%8C%E6%B1%9F%E5%B1%B1%E5%9B%BE/386355
2. https://www.dpm.org.cn/collection/paint/228354.html
3. http://www.chinashj.com/sh-gdhh/10245.html
4. http://art.people.com.cn/n1/2017/0831/c226026-29507425.html
5. 林顺洋 & 徐辉.(2022).《千里江山图》的美学思想及艺术价值. 美与时代(中)(12),114-116.
6. 冯海涛.(2023).画式——《千里江山图》卷中的绘画语言研究（上）. 美术研究(01),22-28+38-39.
7. 秦树梅.(2023).《千里江山图》画法研究. 东方收藏(09),36-38.
8. 肖鹏飞.(2023).论王希孟《千里江山图》之境. 阜阳职业技术学院学报(02),76-78.

问题

1. 王希孟的《千里江山图》有何重要意义？
2. 宋徽宗如何影响王希孟的艺术发展？
3. 北宋时期社会和文化有哪些进步？
4. 《千里江山图》描绘了哪些主要元素？
5. 这幅画如何反映北宋的文化和哲学理想？
6. 《千里江山图》对后世艺术家产生了怎样的影响？

Wu Liping | Festival：Qixi Festival

Introduction

Qixi Festival, also known as Qiqiao Festival, Qijie Festival, Daughter's Day, Qiqiao Festival, Qinianghui Festival, Qixi Festival, Ox and Bull Mother's Day, Qiaoxi Festival, etc., is a traditional Chinese folk festival. Qixi Festival evolved from the worship of stars. It is the birthday of the seventh sister in the traditional sense. Because the worship of the "seventh sister" was held on the night of July 7th, it was called "Qixi Festival". Worshiping the seventh sister, praying for blessings and wishing, begging for skillful art, sitting and watching Morning Glory Vega, praying for marriage, storing Qixi water, etc. are the traditional customs of Qixi Festival. After historical development, Qixi Festival has been given the beautiful love legend of "Cowherd and Weaver Girl", making it a festival symbolizing love. Therefore, it is regarded as the most romantic traditional festival in China, and has produced the cultural meaning of "Chinese Valentine's Day" in modern times.

Origin

1.The Legend of the Cowherd and the Weaver Girl Qixi Festival is one of the traditional festivals in China. "Xi" is the origin of the evening festival. Qixi Festival is the night on the seventh day of the seventh lunar month. Qixi Festival originated from the legend of the Cowherd and the Weaver Girl. The cowherd is a young herder, and the weaver girl is a fairy in the sky. The weaver girl felt that there was no freedom in the sky and came to the world. With the help of the old cow, the cowherd met the weaver girl and soon fell in love and got married, giving birth to a man and a woman. But one day, the Queen Mother took the Weaver Girl away. When the cowherd carried the two children to the sky to chase the weaver girl, the Queen Mother drew a galaxy with the jade hairpin on her head. The galaxy was long and wide, and the cowherd could not pass, so they were separated. The Queen Mother only allows the Cowherd and the Weaver Girl to meet once every year on the seventh day of July. Every night on the seventh day of the seventh month, groups of magpies fly to build a bridge for the Cowherd and the Weaver Girl and let them meet on the bridge. This is the origin of the Qixi Festival.

2.Worship of natural celestial phenomena

As early as ancient times, the ancients who pursued order not only planned the sky in an orderly manner, but also corresponded the stars to the ground area one by one. This correspondence is called "star division" in terms of astronomy and "division" in terms of the ground. . In short, the ancients corresponded each constellation in the sky to the physical geographical area on the ground one by one. The purpose of the ancient star division and division was mainly to cooperate with the astrology theory for celestial occupation. In the ancient star system, "Ox" consists of six stars, located on the east coast of the Milky Way, like two inverted triangles, one up and down, very characteristic, but the upper triangle is larger and brighter. The small triangle below is located on the ecliptic. These stars form a cow with two horns on its head but only three feet, so the ancients called it "the morning ox." The three stars of "Weaver Girl" are located in the north of the cow house. Among them, the "Weaver Girl One" star is the fifth bright star in the sky, so it is often directly called "Weaver Vega". People call "Oxus" and "Weaver Vega" together as "Cowherd and Weaver Girl". It is said that on the seventh day of July every year, the Cowherd and the Weaver Girl meet at the Magpie Bridge in the sky. Later, the folk gave further play to the story and gave the "Cowherd and Weaver Girl" a beautiful love legend. And in order to have the dexterity of the weaver girl, the girls work on that day, so that day is also called the Begging Festival.

3.Time digital worship "Chinese Valentine's Day" is the seventh day of the month and the seventh day. In ancient times, the ancients combined the sun and moon with the five planets of water, fire, wood, gold and earth as "Seven Yao." The seventh day of July is related to the ancients' worship of numbers and time. In ancient times, the "sevenfold" of the first month, February 2, March 3, May 5, June 6, July 7 and September 9 were listed as auspicious days. In ancient China, the "heavy day" was regarded as a day of "the communication between heaven and earth" and "the communication between heaven and man". Seven is the number of beads in each column of the abacus, which is romantic and rigorous, giving people a mysterious beauty. "Seven" and "Ji" are homophonic, and "Seven" also means double good luck, which is an auspicious day.

Activities on the day

Activities on the day 1.Couple dating Chinese Valentine's Day is commonly known as Valentine's Day in China, so couple dating is one of the most common ways to celebrate Chinese Valentine's Day. Couples may choose to have a romantic dinner on this day, enjoy the moon together, or participate in activities on the theme of Qixi Festival to express their love and care for each other 2.Xiangqiao Hui In Yixing, Jiangsu Province, there is a custom of Qixi Xiangqiao Festival. Every year on the Chinese Valentine's Day, people come to participate and build incense bridges. The so-called incense bridge is a bridge four or five meters long and about half a meter wide made of all kinds of thick and long wrapping incense (paper-wrapped thread incense). It is decorated with a railing made of five-color threads. At night, people sacrifice the double stars, beg for good fortune, and then burn the incense bridge, symbolizing that the double stars have crossed the incense bridge and met happily. This incense bridge is derived from the legendary legend of Magpie Bridge.

3.Take Dew In rural areas of Zhejiang, it is popular to use washbasins to receive dew. Legend has it that the dew on the Qixi Festival is the tears when the Cowherd and the Weaver Girl meet. If you wipe it on your eyes and hands, you can make your eyes clear and your hands fast.

4.Wear a needle and beg for cleverness Wearing needles, also known as "matching tricks", is women's competition to wear needles. They tie colored threads and wear seven-hole needles. The faster they wear, the more clever they wear, the more clever they are. Those who wear slowly are called "losing tricks". "People who lose cleverness" should give gifts prepared in advance to the clever. Xijing Miscellany said: "Han Cai girls often wear seven-hole needles in the open building on July 7th, and people get used to it”

Cultural significance and development of Qixi Festival

1.Inheritance of traditional culture: As a part of Chinese traditional culture, Qixi Festival has inherited ancient myths and beautiful blessings through generations. 2.Multicultural integration: In contemporary society, Qixi Festival integrates the customs of different regions and cultures, forming a variety of forms of celebration. 3. Changes in personal values: With the rapid development of society, people's concepts of love and marriage are also changing. As a symbol of love, Qixi Festival represents the change of values that people pursue in love.The cultural evolution of Qixi Festival not only retains traditional customs, but also blends with modern society, reflecting the diversity and vitality of Chinese culture. We look forward to the continuous evolution and development of Qixi Festival in the future and become a cultural feast of tradition and modernity.

Conclusion

As a traditional Chinese festival, Qixi Festival carries ancient myths and legends and beautiful blessings. With the progress of society and the evolution of culture, Qixi Festival has become more romantic and diversified in modern times. Traditional Qixi customs such as begging for tricks and enjoying the moon still exist, but modern society gives Qixi Festival more meaning and expression. To sum up, the Seven Festivals is not only a traditional festival, but also a festival with rich cultural significance and historical traditions. It embodies the Chinese nation's unremitting self-improvement, diligence and wisdom, creative courage, and the continuous pursuit of a happy life.

Terms and Expressions

the Cowboy and the Weaver Girl 牛郎织女 ：the Queen of Heaven 王母娘娘 magpie bridge 鹊桥 ecliptic 黄道： Seven Luminaries 七曜 Heavenly Palace 天宫 Altair 牵牛星 Vega 织女星 Miscellanies of Xijing 《西京杂记

Questions

Qustions: 1. What is the name of Qixi Festival? 2. What day does the Chinese Valentine's Day take place? 3. What are the origins of Qixi Festival? 4. What are the common Qixi Festival activities? 5.What is the impact of Qixi Festival on today's society?

Luo Jiayi | Music and instruments：Yuge（Fishing song）

Overview

Fishing song, also known as Yuge, is a unique Chinese folk song sung by fishermen in China's coastal areas, lakes and harbors. The most widely circulated one is the Tang Dynasty poet Zhang Zhihe's Fisherman's Song:

In front of western hills white egrets fly up and down

Over peach-mirrored stream, where perches are full grown.

In a broad-brimmed blue hat

And green straw cloak, I’d fain

Go fishing careless of the slanting wind and rain.

There are many types and quantities of fishing songs. When and where it originated, there is no way to know. But it is certain that in the Han Dynasty, there was a large number of documentary records of fishing songs. In 2014, the fishing songs (Dongting Fishing Songs and Shanwei Fishing Songs) were approved by the State Council to be included in the fourth batch of national intangible cultural heritage lists. In 2021, Fishing Songs (Shengsi Fishing Songs) were approved by the State Council to be included in the expanded list of representative items of national intangible cultural heritage.

渔歌是一种特有的中国民歌，由中国沿海地区以及湖泊港湾渔民所唱。流传最广泛的当属唐代诗人张志和的《渔歌子》：西塞山前白鹭飞，桃花流水鳜鱼肥。青箬笠，绿蓑衣，斜风细雨不须归。渔歌种类繁多、数量庞大，到底起源于何时何地，已无从考究。但可以确定的是在汉代，渔歌已有大量的文献记载。2014年，渔歌（洞庭渔歌、汕尾渔歌）经国务院批准列入第四批国家级非物质文化遗产名录。2021年，渔歌（嵊泗渔歌）经国务院批准列入国家级非物质文化遗产代表性项目名录扩展项目名录。

Classification of fishing songs

Fishing songs can be classified by region. For example, the fishing songs popular in Shanwei, Guangdong Province are collectively referred to as Shanwei Fishing Songs, and there are also fishing songs in Huidong, Guangdong, which belong to the same kind in Shanwei; popular in Yueyang, Hunan Province, Dongting Lake, collectively known as Dongting Fishing Song. The fishing songs popular in Shengsi, Zhoushan, Zhejiang Province, are called Shengsi Fishing Song.

Fishing songs can also be divided into two categories: deep-sea fishing songs and shallow-sea fishing songs. The former is sung by fishermen working in the deep sea, similar to salty water songs. The latter is sung by the women of the fishermen by the sea. It usually refers mainly to shallow-sea fishing songs.

What is more, fishing songs can be classified according to their form, which are divided into three types: work songs, folk songs, and ditty.

渔歌可以按地域来分类。如流行于广东汕尾市的渔歌，统称为汕尾渔歌，而在广东的惠东也有渔歌，属于汕尾市同类；如流行于湖南省岳阳市岳阳楼区洞庭湖边的，则统称为洞庭渔歌；如流行于浙江省舟山市嵊泗县的渔歌，则称为嵊泗渔歌。

渔歌也可以分深海渔歌和浅海渔歌两类。前者是深海作业渔民所唱，近似咸水歌；后者是海边渔家妇女所唱。通常主要指浅海渔歌。

渔歌还可以按其按形式来分类，分为号子、山歌、小调三种类型。

Characteristics of fishing songs

The content of fishing songs is rich and colorful, and it is mainly divided into five categories, namely labor, life, love, folk customs and sacrifices. (Li 2008, 51)The labor category, represented by The Boatman's Work Song, mostly describes the spontaneous organization of fishermen in production and life, such as fiber pulling, net collection, etc., with a sonorous rhythm and full of dynamics. In the life category, it mainly expresses the joys and sorrows in the hearts of fishermen, and its representative works include How can there be more tears in the river. Love, mostly men and women pour out their love for each other. Affected by the water, their marriage and love are in the boat, which gave birth to a large number of songs, such as Bachelor Marrying and so on. Folk customs, more reflect the survival skills of fishermen, and the cultivation of excellent moral qualities such as the education of children, and the representative works include My Thousands of Fishing Songs. Sacrificial category, the content is mainly for the fishermen to pray for the god of water and the dragon king to bless favourable conditions and the boat is safe, the representative works are Dongting Immortal and so on.（Xu Hao,Liu Jiwen 2020, 121-122）

The lyrics of fishing songs are generally in the format of seven-character sentences, two sentences are one paragraph, and there are also four or eight sentences in a paragraph. In the four sentences, there are also five-character sentences or three-character sentences as the starting sentence, and the last three words of the second or fourth sentence are often repeated with padding words, or the whole sentence is repeated.

The expression forms of fishing songs include humming, singing in unison, singing in unison with the lead singer, blowing, duet, singing and dancing, pure natural harmony singing, playing and singing, etc. The dragging and repetition in the singing are the most basic and significant characteristics that distinguish fishing songs from other folk songs.

渔歌的内容丰富多彩，主要分为五大类，即劳动类、生活类、爱情类、民俗类和祭祀类。(Li 2008, 51)劳动类，以《船工号子》为代表，多形容渔民在生产生活中的自发组织劳动，如拉纤、收网等，节奏铿锵，富于动感；生活类，则主要表达渔民内心的喜怒哀乐，代表作有《河水哪有我的眼泪多》等；爱情类，多为男女之间互相倾诉爱慕之情，受水域影响，婚姻、恋爱均在船间，由此萌生出大量歌曲作品，如《光棍娶亲》等；风俗民俗类，更多反映渔民的生存技巧，及对子女的教育等优秀道德品质的培养，代表作有《我的渔歌万万千》等；祭祀类，内容主要为渔民祈求水神、龙王保佑风调雨顺、行船平安，代表作有《洞庭仙》等。（Xu Hao,Liu Jiwen 2020, 121-122）

渔歌的歌词格式一般为七字句，两句一首，间有四句或八句一首。四句中也有用五字句或三字句作起句的，第二句或第四句的最后三字常加上衬词重复，或整句重复。

渔歌的表现形式有哼唱、齐唱、领和式齐唱、吹奏、对唱、歌舞、纯自然和声演唱、弹唱等。而唱腔曲调上的“拖音”和“复沓”是渔歌有别于其他民歌品种最基本、最显著的特征。

The value of fishing songs

The fishing song itself has a high aesthetic value of musical art, which is mainly reflected in its unique style and rich forms of expression. It contains the cultural genes of traditional music, and provides a rich source of original materials and inspiration for music creation.(Wang 2009, 25)

In contemporary times, the more important thing about the fishing song is its historical, cultural and folk value. Fishermen living by the water's edge can learn about the humanistic history, folk customs, social outlook of their hometown, and the way of life, thoughts and feelings, spiritual pursuits, and values of fishermen through fishing songs, so as to gain a sense of identity of local cultural identity. (Chen 2023, 74-75)In addition, this kind of value is also reflected in the true record and effective continuation of traditional fishing culture. Through fishing songs, people can understand the ocean, tide, meteorology, fishing flooding, fish, fishing, breeding, processing, trade and other fishery knowledge and inherit the fishing culture of the fishing area.(Jin 2009, 90/ Fang 2023, 24-25)

In addition, the fishing song also has scientific, economic and practical value. Only by transforming it from a folk art resource into a cultural productive force and bringing economic benefits can the reproduction of folk art producers be guaranteed, and correspondingly more funds will be invested in the protection and development of folk art.(Jinling Li 2022, Volume 4.0, Issue 5.0)

渔歌本身具有很高的音乐艺术审美价值，主要体现在它独特的风格和丰富的表现形态上。它蕴含着传统音乐的文化基因，为音乐创作提供了丰富的原始素材和灵感源泉。(Wang 2009, 25)

在当代，渔歌更重要的是它的历史文化民俗价值。生活在水边的渔民，通过渔歌了解自己家乡的人文历史、民俗风情、社会面貌和渔民的生活方式、思想感情、精神追求、价值观念，从而获得本土文化身份的认同感。(Chen 2023, 74-75)除此之外，它的这种价值还体现在对传统渔俗文化的真实记录和有效延续上，人们通过渔歌，可以了解海洋、潮汛、气象、渔汛、鱼类、捕捞、养殖、加工、贸易等渔业知识，传承渔区渔俗文化。(Jin 2009, 90/ Fang 2023, 24-25)

此外，渔歌也有科学经济实用价值。只有将其从民俗艺术资源转换为文化生产力,带来经济效益,才能保证民俗艺术生产者的再生产,相应地就会有更多的资金投入到民俗艺术的保护和发展上。(Jinling Li 2022, Volume 4.0, Issue 5.0)

Terms and Expressions

Fishing songs 渔歌

Fisherman's Song 《渔歌子》

Dongting Fishing Songs 洞庭渔歌

Shanwei Fishing Songs 汕尾渔歌

Shengsi Fishing Songs 嵊泗渔歌

The fourth batch of national intangible cultural heritage list 第四批国家级非物质文化遗产名录

Expanded list of representative items of national intangible cultural heritage 国家级非物质文化遗产代表性项目名录扩展项目名录

Deep-sea fishing songs 深海渔歌

Shallow-sea fishing songs 浅海渔歌

Salty water songs 咸水歌

Work songs 号子

Folk songs 山歌

Ditty 小调

The Boatman's Work Song 《船工号子》

How can there be more tears in the river 《河水哪有我的眼泪多》

Bachelor Marrying 《光棍娶亲》

My Thousands of Fishing Songs 《我的渔歌万万千》

Dongting Immortal 《洞庭仙》

Padding words 衬词

Questions

（1）What are the types of fishing songs classified by region? Please name two.

（2）Are fishing songs an intangible cultural heritage?

（3）What is the value of fishing songs?

（1）渔歌按地域分类有哪几种？请举出两个。

（2）渔歌属于非物质文化遗产吗？

（3）当代的渔歌具有什么价值？

References

李琳(Li Lin). 环洞庭湖民歌中的民俗及其文化内涵(Folklore and Its Cultural Connotation in Folk Songs Around Dongting Lake)[J]. 湖南农业大学学报(社会科学版)(Journal of Hunan Agricultural University (Social Science)),2008,(05):50-53.

许昊,柳集文(Xu Hao,Liu Jiwen). 传统音乐类非物质文化遗产的生存现状与整合传播——基于湖南岳阳洞庭渔歌的考察(The Survival Status and Integrated Dissemination of Traditional Music Intangible Cultural Heritage: An Investigation Based on Dongting Fishing Songs in Yueyang, Hunan Province)[J]. 新媒体研究(Journal of New Media Research),2020,6(07):121-124.

王晓淮(Wang Xiaohuai). 关于当代原生态民歌发展及意义的思考(Reflections on the Development and Significance of Contemporary Original Ecological Folk Songs)[J]. 歌海(Ge Hai),2009,(04):24-25.

陈辉(Chen Hui). 渔俗文化的历史记忆——浙东渔歌的功能与价值(Historical Memory of Fishing Culture: The Function and Value of Fishing Songs in Eastern Zhejiang)[J]. 浙江艺术职业学院学报(Journal of Zhejiang Vocational College of Art),2023,21(04):70-76.

金成辉(Jin Chenghui). 民俗艺术资源的价值要素探析(Analysis on the Value Factors of Folk Art Resources)[J]. 艺术探索(Art Exploration),2009,23(05):90-91.

方从戎(Fang Congrong). 湖南洞庭渔歌的文化内涵及其生存现状(The Cultural Connotation and Survival Status of Dongting Fishing Songs in Hunan Province)[J]. 中国民族博览(China Nationalities Expo),2023,(18):24-26.

Jinling Li. Research on the Development of Intangible Cultural Heritage Traditional Handicraft Education Inheritance and Socialization Inheritance(非物质文化遗产的发展研究传统手工艺教育传承与社会化传承)[J]. International Journal of Frontiers in Sociology(国际社会学前沿杂志), 2022, Volume 4.0 , Issue 5.0.

Xie Xianglin |Education:Chicken Child(Fired-up Child)

The Origin and Meaning

In recent years, with the popularity of the TV series ‘A Little Dilemma’, ‘education anxiety’ has become a hot topic nowadays, and the new word ‘chicken child’ has therefore come into the public eye.The drama is set in the context of primary school and reflects the current educational context where children's education is highly competitive. Chicken child means a child who has been over-motivated and spurred on by their parents in terms of learning and forced to be fired up.Chicken child, in Chinese is ‘鸡娃’. Chicken, ‘鸡’ is homophonous with the character ‘激’which means motivating or stimulating, so Chicken Child has the meaning of a child who is motivated and spurred on. On the other hand,in China in the 1960s, there was a form of chicken blood therapy, in which fresh chicken blood was drawn and injected into a person's veins, which would leave them refreshed and free of any illness. It's pseudo-science, but the term chicken blood has been passed down and given the meaning of a person's sudden excitement about something.So ‘Chicken Child’ borrowed this meaning to denote a child who is forced by his parents to be excited about learning.Based on its meaning, the term has also been translated as Fired-up Child.（Ding Miaomiao. 2022，Imago Literature Creation）

Causes of the Chicken Child

The causes of the chicken child are complex and involve many aspects.

Education system

The National College Entrance Examination, as the only examination that determines university entrance, makes parents and students focus all their energy on exam-oriented education. In addition, two important exams, the Junior High School Entrance Examination and the High School Entrance Examination, largely determine how high or low a child's educational starting point will be. These examinations in China make children and their parents anxious, fearing that they will fall behind on any rung of the ladder. Although in recent years the policy of reducing the burden one after another, the effect of reducing the burden is not obvious. Even though the The Double Reduction Policy has alleviated parents‘ educational anxiety to a certain extent, the problem of parents’ educational anxiety will not be reduced as long as there is the existence of exam-oriented education and the selection system of the National College Entrance Examination according to the scores.

Ideological Tradition

China's ideological tradition of‘expecting a son to become a dragon and a daughter to become a phoenix’ is the most ardent hope of every Chinese parent for their children. Therefore, most parents will focus all their energy, financial and material resources on their children, so that they can have better conditions and resources to improve social status and change the fate of the family. Education, on the other hand, is the most effective and fair of all avenues. Some scholars have pointed out that the direct cause of parents’ educational anxiety is their educational expectations and requirements for their children. (Fu Qiwen ,Ye Xiangxiang,Zou Simin ,Gong Xue. Secondary school students)

Economic Factors

In Professor Fabrizio's eyes, chicken child is not the fault of parents, but the result of economic inequality. In addition to contributing to a shift in cultural values, the increase in economic inequality has also changed parental behaviour. In particular, parents increasingly believe that the basis of their children's success will depend on educational achievement. In a world where parents are tightly connected with their children in interests, parents will be more concerned about their children's place in the social hierarchy, and will therefore be motivated to invest more in pushing their children to adopt success-oriented behaviors. (Tencent News.2021)

Specific Manifestations in Society

Firstly, there is intense subject tuition. Children attend a variety of tuition classes after school and on weekends, covering a wide range of subjects such as Maths, English and Physics, with a view to improving their academic performance. Secondly, they enroll in a wide range of interest classes. Apart from subject tuition, parents would also arrange for their children to attend interest classes in music, dance, sports and so on, in the expectation that they could develop in an all-round way. Thirdly, strict time management. Children's schedules are so tight that they have little free time, and all their activities revolve around learning and skill enhancement. Fourthly, the high-pressure family environment, where parents have very high expectations and demands on their children's academic performance, leading to a tense family atmosphere and greater psychological pressure on the children. Changsha, for example, has the four most prestigious high schools in Hunan: The First High School of Changsha, Changjun High School of Changsha, Yali Middle School, and The High School Attached to Hunan Normal University. In addition, other schools are divided into various echelons, and it is often rumored that ‘Entering XXX school is a step into the door of Universities listed in Project 985, 211’. For this reason, parents and students try to get into the best high school possible. According to the Chinese education system, children only start learning English in the third grade of primary school. But here, there are children who have been attending English interest classes since they were a few years old. Some even learn a second or third foreign language. In addition to the basic curriculum, children also have to learn programming, Olympiads, etc. to have as much competitive capital as possible. At the age of primary school and junior high school, age of nature of to play, it is difficult to say that there are children who love to take the initiative to learn, so all of the above mentioned can not ignore the role of the parents . This is the specific embodiment of the chicken child, rather than children play initiative to learn, it is the parents play initiative to let them learn.

The Double Reduction Policy

The implementation of the ‘Double Reduction’ policy is intended to alleviate the phenomenon of ‘chicken children’, reduce the academic burden on students and promote equity in education. The ‘Double Reduction’ policy is an important education reform measure introduced by the Chinese government in 2021. The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training, issued in July 2021, aims to reduce the burden of homework and out-of-school training for primary and secondary school students. The core elements of this policy include reducing the amount of homework, regulating the operation of out-of-school training organizations, and reducing the educational anxiety of students and parents. However, the policy has faced some challenges and backlash in its implementation, and the demand and competitive mentality of parents and students for educational resources still exists. Achieving the policy's goals will require concerted efforts by the government, schools, and families to enhance the equitable distribution of educational resources, improve the quality of public education, change parents' concepts of education, and promote the all-round development and physical and mental health of students. (Baidu Encyclopedia)

Similar phenomena abroad

As a matter of fact, there are similar educational anxieties abroad. Similar to the chicken child, there are ‘Helicopter Parents’ and ‘Tiger Parenting’ . Helicopter parents refer to parents who are overly concerned about their children's behaviour, learning and development. They hover around their children like helicopters, always ready to intervene and interfere in their children's lives. Tiger-Parenting is derived from the book ‘The Battle Hymn of the Tiger Mother’ by Amy Chua, a Chinese-American writer. Tiger-Parenting emphasizes rigour and high standards, and parents expect their children to achieve excellent results, often through coercion, threats and punishment, in order to motivate their children to learn and perform. And the term actually originated in China. The origin of the term, ‘Battle Hymn of the Tiger Mother’, is about how the author, a Chinese mother, fired up her children to become chicken child. Tiger-Parenting became a sensation in the education world and led to a great debate about the educational methods of China and the United States.(Woran Zhang. 2023.)

Summary

The essence of chicken children lies in parents' excessive concern about their children's studies and performance, as well as their excessive expectations of their children's future development. This phenomenon reflects the unequal distribution of educational resources and opportunities in society, as well as parents' anxiety and distrust of their children's future in a highly competitive social environment. Chicken-child behaviour is often accompanied by negative consequences such as excessive learning pressure, lack of autonomy and mental health problems, and may also lead to a waste of educational resources and a lack of educational equity.

Terms and Expressions

Chicken Child(Fired-up Child) 鸡娃 A Little Dilemma 《小别离》 chicken blood therapy 鸡血疗法 National College Entrance Examination 高考 exam-oriented education 应试教育 Junior High School Entrance Examination 小升初考试 High School Entrance Examination 中考 The Double Reduction Policy 双减政策 The First High School of Changsha 长沙市第一中学 Changjun High School of Changsha 长郡高级中学 Yali Middle School 雅礼中学 The High School Attached to Hunan Normal University 湖南师范大学附属中学 The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》 Helicopter Parents 直升机式家长 Tiger Parenting 虎妈式教育 The Battle Hymn of the Tiger Mother 《虎妈战歌》

Question

1. How did the word ‘chickenshit’ come about?
2. What are the causes of the chicken child phenomenon?
3. What are the concrete manifestations of the chicken child in the society?
4. Why is it necessary to implement the ‘Double Reduction Policy’?
5. Where did the term ‘tiger mother education’ originate?

References

1. Ding Miaomiao. An analysis of the network buzzword ‘chicken child’. Journal of literature and creativity,2022,(29):111-113.
2. FU Qiwen, YE Xiangxiang, ZOU Simin, GONG Xue. A review of research on the current situation of parents' educational anxiety and countermeasures in the context of burden reduction. A review of parental education anxiety and countermeasures in the context of burden reduction.
3. Tencent News.2021.Economists tell you that chicken children are not your fault_Tencent News (qq.com)
4. General Office of the CPC Central Committee, General Office of the State Council . Opinions on Further Reducing the Burden of Homework on Students in Compulsory Education and the Burden of Out-of-School Training .
5. Baidu Encyclopedia. Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Off-Campus Training_Baidu Encyclopedia (baidu.com)
6. Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.

Translation

教育：鸡娃 1.鸡娃的由来及含义 近年来，随着电视剧《小别离》的热播，“教育焦虑 ”成为时下的热门话题，“鸡娃 ”这个新词也因此进入公众视野。这部电视剧以小学为背景，反映了当下儿童教育竞争激烈的教育背景。 鸡娃是指在学习方面被家长过度激励和鞭策，被迫发奋学习的孩子。“鸡” 与 “激”同音，“激” 的意思是激励或刺激，所以 ”鸡娃 "有激励和鞭策孩子的意思。 另一方面，在 20 世纪 60 年代的中国，有一种鸡血疗法，即抽取新鲜鸡血注入人的血管，使人神清气爽，百病不生。虽然是伪科学，但鸡血一词却流传了下来，并被赋予了一个人突然对某件事情感到兴奋的含义，所以 “鸡娃”借用了这一含义来表示被父母逼着对学习感到兴奋的孩子。(丁苗苗. 2022,今古文创)

2.鸡娃现象的成因 鸡娃现象的产生成因复杂，涉及许多方面。 A. 教育体制 全国高考作为决定大学入学的唯一考试，使家长和学生把全部精力都放在应试教育上。此外，初中入学考试和高中入学考试这两次重要的考试在很大程度上决定了孩子教育起点的高低。在中国，这些考试让孩子和家长们焦虑不安，生怕自己在哪个阶梯上掉队。虽然近年来减负政策陆续出台，但减负效果并不明显。即使 “双减 ”政策在一定程度上缓解了家长的教育焦虑，但只要存在应试教育和高考唯分数论的选拔制度，家长的教育焦虑问题就不会减少。 B. 思想传统 望子成龙、望女成凤 "是中国的思想传统，也是每个中国家长对子女最殷切的期望。因此，大多数父母都会把所有的精力、财力、物力都集中在子女身上，让子女有更好的条件和资源来提高社会地位，改变家庭命运。而教育则是所有途径中最有效、最公平的途径。有学者指出，造成家长教育焦虑的直接原因是家长对子女的教育期望和要求。 (付启文、叶湘湘、邹思敏、龚雪.中学生）。 C.经济因素 在 Fabrizio 教授眼中，“鸡娃 ”不是父母的错，而是经济不平等的结果。除了导致文化价值观的转变，经济不平等的加剧也改变了父母的行为。尤其是，家长们越来越相信，子女成功的基础取决于教育成就。在父母与子女利益紧密相连的世界里，父母会更加关注子女在社会等级中的位置，因此会有动力投入更多，促使子女采取以成功为导向的行为。(腾讯新闻.2021）

3.鸡娃在社会中的具体显现 一是高强度的学科补习，孩子们在放学后和周末参加各种补习班，涵盖数学、英语、物理等多个学科，以期提高他们的学术成绩。二，报广泛的兴趣班。除了学科补习，家长还会安排孩子参加音乐、舞蹈、体育等兴趣班，期望他们能够全面发展。三是严格的时间管理，孩子们的日程安排得非常紧凑，几乎没有自由时间，所有的活动都围绕着学习和技能提升。四是高压的家庭环境，家长对孩子的学习成绩和表现有着非常高的期望和要求，导致家庭氛围紧张，孩子面临较大的心理压力。 就拿长沙举例，拥有湖南四大名校长沙市第一中学、长沙市长郡中学、长沙市雅礼中学、湖南师范大学附属中学。除此以外，其它学校还分出了各种梯队，常有流言说“上了xxx学校就是一脚迈进了985、211的门”。为此家长学生为了尽可能进入更好的高中挤破了头。按中国教育制度，孩子小学三年级才开始学英语。但是在这里，有的是从几岁开始就上英语兴趣班的娃娃。更有甚者，还学了第二门、第三门外语。除基本的课程外，孩子还要学编程，奥数等，尽可能有更多竞争的资本。在小学、初中的年纪，正是天性爱玩的时候，难说有孩子是热爱主动学习的，所以以上所说种种家长在其中的作用是不可忽略的。这正是鸡娃，与其说是孩子在发挥主动性学习，不如说是家长发挥主动性让他们学习。

4.双减政策 “双减”政策的实施意在缓解“鸡娃”现象，减轻学生的学业负担，促进教育公平。“双减”政策是中国政府在2021年推出的一项重要教育改革措施，2021年7月发布的《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》，旨在减轻中小学生的作业负担和校外培训负担。这一政策的核心内容包括减少家庭作业量、规范校外培训机构的运营、以及减轻学生和家长的教育焦虑。 然而，政策在实施过程中面临一些挑战和反弹，家长和学生对教育资源的需求和竞争心理依然存在。要实现政策目标，需政府、学校和家庭多方协同努力，加强教育资源的公平分配，提升公立教育质量，转变家长的教育观念，促进学生的全面发展和身心健康。(百度百科)

5.国外的相似现象 事实上，国外也有类似的教育焦虑存在。与鸡娃相似的，如“直升机式”家长和“虎妈式”教育。 直升机家长（Helicopter Parents）是指过度关注孩子的行为、学习和发展的家长，他们像直升机一样“盘旋”在孩子的周围，时刻准备介入和干预孩子的生活。 “虎妈式”教育（Tiger-Parenting）源自美国华裔作家蔡美儿（Amy Chua）的著作《虎妈战歌》。虎妈式教育强调严格要求和高标准，家长们期望孩子取得优异的成绩，通常通过强迫、威胁和惩罚来促使孩子学习和表现。而严格来说，这个词也起源于中国。因为个词的起源《虎妈战歌》正是讲的作者作为华裔妈妈如何“鸡娃”的。虎妈的教育方法轰动了教育界，并引起关于中美教育方法的大讨论。 (Woran Zhang.2023.World Journal of Educational Research）

6.总结 鸡娃的本质在于家长过度关注孩子的学习和成绩，以及对孩子未来发展的过度期待。这种现象反映了社会对教育资源和机会的不均等分配，以及家长对孩子未来竞争激烈的社会环境的焦虑和不信任。鸡娃行为常常伴随着过度的学习压力、缺乏自主性、心理健康问题等负面影响，同时也可能导致教育资源的浪费和教育公平的缺失。

术语： Chicken Child(Fired-up Child) 鸡娃 A Little Dilemma 《小别离》 chicken blood therapy 鸡血疗法 National College Entrance Examination 高考 exam-oriented education 应试教育 Junior High School Entrance Examination 小升初考试 High School Entrance Examination 中考 The Double Reduction Policy 双减政策 The First High School of Changsha 长沙市第一中学 Changjun High School of Changsha 长郡高级中学 Yali Middle School 雅礼中学 The High School Attached to Hunan Normal University 湖南师范大学附属中学 The Opinions on Further Reducing the Burden of Homework for Students in Compulsory Education and the Burden of Out-of-School Training 《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》 Helicopter Parents 直升机式家长 Tiger Parenting 虎妈式教育 The Battle Hymn of the Tiger Mother 《虎妈战歌》

问题:

1. “鸡娃”这个词是如何而来？
2. 鸡娃现象的成因有哪些方面？
3. 鸡娃在社会中的具体体现有哪些？
4. 为什么要实行“双减政策”？
5. 虎妈教育这个词起源于哪？

参考文献：

1. 丁苗苗. 网络流行语“鸡娃”探析. 今古文创,2022,(29):111-113.
2. 付惜文 ,叶湘湘,邹思敏 ,龚雪.减负背景下家长教育焦虑现状及对策的研究综述.中学生
3. 腾讯新闻.2021.经济学家告诉你，鸡娃不是你的错_腾讯新闻 (qq.com)
4. 中共中央办公厅、国务院办公厅.《关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见》
5. 百度百科。关于进一步减轻义务教育阶段学生作业负担和校外培训负担的意见_百度百科 (baidu.com)
6. Woran Zhang.(2023).Tiger Parenting and its Influence on American High School Students.World Journal of Educational Research(5)

Yang Zixuan | Chinese Science Fiction:The Three Body Problem

Brief introduction

The Three-Body Problem is a series of long science fiction novels written by Liu Cixin, consisting of The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever. The first installment was serialized since May 2006 in Science Fiction World magazine. The series of novels tells the story of the exchange of information between the human civilization on Earth and the three-body civilization, the life-and-death struggle, and the rise and fall of the two civilizations in the universe. The first installment was translated by Liu Yukun and won the 73rd Hugo Award for Best Long Story.

Liu Cixin, born in Beijing in June 1963, is originally from Luoshan County, Xinyang City, Henan Province, and a native of Yangquan, Shanxi Province. He graduated from the North China University of Water Conservancy and Hydropower and is a senior engineer as well as a science fiction writer. Liu Cixin is one of the representative writers of Chinese science fiction, and his works have been awarded the Galaxy Award for Chinese Science Fiction for the years 1999-2006, and he has won many other important awards at home and abroad, such as Zhao Shuli Literary Award and Chinese Science Fiction Nebula Award, etc. He is also a member of the Chinese Science Fiction Association.

Main Part

The Place and Influence of The Three Body Problem in Science Fiction Literature

The success of The Three-Body Problem series has greatly contributed to the popularization and prosperity of science fiction literature in China. More and more readers have begun to pay attention to and fall in love with science fiction literature and the quantity and quality of science fiction works have been significantly improved. With its unique scientific concepts, rich imagination and profound insight into human nature, society and civilization, The Three-Body Problem series has provided new ideas and directions for the creation of Chinese science fiction literature. More and more writers have begun to try to combine scientific theories with storylines, tap into human culture and historical connotations, and explore new ways of literary expression. The Three-Body Problem has also inspired the creative enthusiasm of Chinese science fiction writers, and more and more writers have begun to try their hand at science fiction literature, injecting new vitality into Chinese science fiction literature. Meanwhile, more writers are encouraged to pursue depth and breadth to enhance the overall level of Chinese science fiction literature.

The international success of The Three-Body Problem series has raised the status and influence of Chinese science fiction literature. Chinese science fiction literature has begun to receive attention and recognition from the international community, opening up a new way for the international dissemination of Chinese culture. The success of the "The Three-Body Problem" series has enhanced the cultural confidence of Chinese science fiction writers. They began to face international readers and judges with more confidence, showing the unique charm and depth of Chinese science fiction literature. At the same time, "The Three-Body Problem" also shows the world the creativity and thinking power of Chinese people, and wins more praise and respect for the international dissemination of Chinese culture.

The Three-Body Problem embodies Chinese cultural values

The belief that man can win

"For more than 5,000 years, the Chinese people, in the course of exploring nature and seeking survival, have honed the spiritual character of robustness, diligence and courage, positivity and perseverance. In the face of difficulties, we believe that man will prevail over God. Flooding, do not ask the prophet, their own dredging; disease epidemic, do not seek miracles, their own taste of all kinds of herbs; Houyi shoot the sun, Jingwei fill in the sea, Yugongyishan ...... these ancient myths are embedded in the Chinese people's philosophy of survival and spiritual strength.

In "The Three-Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the three-body civilization. The Three-Body Problem sends out only two "Homo sapiens" to interfere with all the particle gas pedals on Earth, making it difficult for humans to take a further step forward in basic science. The three-body world also sends the most contemptuous message to human beings - "you are bugs". The gap between bugs and human beings is much larger than the gap between Earth and The Three-Body Problem, but human beings have not completely eliminated bugs by using all sorts of methods, and the three-body people seem to have forgotten one thing, that bugs have never been truly defeated. Even though human beings are as weak as ants in front of the three-body world, human beings have never given up the struggle, which is exactly the vivid embodiment of the spirit of resilience in the bones of the Chinese people.

Planning a profound legacy for future generations

The concept of the family has an important place in traditional Chinese culture. In the traditional Chinese political structure, the family and the state are isomorphic: the "family" is the small "state" and the "state" is the big "family". The "family" is the small "state" and the "state" is the big "family". The family-centered culture of Chinese society has given rise to a whole set of ways of thinking and living, and the heroes in "The Three-Body Problem" often have the traditional meaning of "father and ruler", they are cold and rational, and they are able to save the day when there is a crisis, and they act as the "head of the family". As the "head of the family" of human beings, they shoulder the heavy burden of resisting foreign enemies and continuing human civilization, and almost all of them end up sacrificing their lives for the survival of the whole human race. The spirit of family inheritance extends to the country and becomes the historical inheritance of the Chinese nation that has lasted for thousands of years. In "The Three-Body Problem", many of the plans designed by mankind to resist alien invasions lasted for dozens to hundreds of years, and only a nation with a civilized history of 5,000 years would be more inclined to design and imagine these plans that need to be passed down from one generation to the next, and the novel has an epic feel to it as a result. In the setting, the three-body fleet arrived on Earth after 400 years, accordingly, the human struggle with the three-body world strategy is also measured in hundreds of years, for example, the use of the "hibernation" technology of the Pacific Air Force to send talents to the future, the bunker program, the black field program, the development of curvature drive spaceships, and so on.

Chinese characters

There are also uniquely Chinese protagonists in The Three-Body Problem that readers remember, such as Wang Miao, Zhang Beihai, and Cheng Xin all of whom are characters that appear more frequently in Amazon reader book reviews.

Zhang Beihai is a very typical Chinese soldier, he is strong and intelligent, with a strong sense of justice, and comes from a military family. His father is a member of the future history school, who predicts that mankind will lose the battle of Armageddon, and he hints at the end of the battle with the cryptic words "think more". Inheriting his father's legacy, Beihai leaves behind a spark of hope for mankind in the midst of an inevitable war. One reader commented that Zhang Beihai "came up with a shocking and inhumane solution to save mankind at the most critical moment". Readers resonate with the human rationality of Zhang Beihai in the context of the book, and at the same time gain a new understanding of the Chinese people's heightened sense of mission, dedication, and spirit of sacrifice.

Cheng Xin has been described by readers in English-speaking areas as "the best protagonist in the series, she is the most memorable. Maybe not the best, but she's the character that is most likely to remain unique in your mind." Each of Ching-Hsin's choices does indeed implement the concept of "goodness" in the moral system that human society has constructed. Respecting human life, loving and caring for all people, Cheng Xin has practiced her concept of "humanity", which in Cheng Xin's context is of course the same as "goodness"! --In Cheng Xin's context, "humanity" is of course the same as "goodness" - rather, Cheng Xin redefines "humanity" through her choices, and in the end, it is this "humanity" that Cheng Xin truly protects, rather than humanity itself. For Cheng Xin, the loss of humanity is the loss of everything.

Terms and Expreesions

The Three-Body Problem 《三体》

The Three-Body Problem, The Three-Body Problem II - The Dark Forest, and The Three-Body Problem III - Death Forever 《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》

Science Fiction World 《科幻世界》

the Galaxy Award for Chinese Science Fiction 中国科幻小说银河奖

Zhao Shuli Literary Award 赵树理文学奖

Chinese Science Fiction Nebula Award 华语科幻星云奖

"hibernation" technology 冬眠技术

the bunker program 掩体计划

the black field program 黑域计划

curvature drive spaceships 曲率驱动飞船

Questions

1. How does the international success of The Three-Body Problem affect Chinese science fiction literature?

2. How does The Three-Body Problem reflect Chinese cultural values?

3. Which character in Three Bodies do you appreciate most? Why?

References

[1]LI Jianfu, GAO Xuying. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's The Three-Body Problem[J]. Modern Communication,2023,(06):89-97+123-124.

[2]Xie Zhonghui. "The Loss and Reinvention of the Hero--The Thought of Humanity in The Three-Body Problem[J]. Masterpiece Appreciation,2024(15):143-146.

[3]Cui Bo, Chen Zixin. Research on the Overseas Diffusion Mechanism of Chinese Literary Works--An Examination Based on The Three-Body Problem[J]. Digital Publishing Research,2024,3(01):104-112.

Translation

中国科幻小说：《三体》

简要介绍

《三体》是由刘慈欣创作的系列长篇科幻小说，由《三体》、《三体Ⅱ·黑暗森林》、《三体Ⅲ·死神永生》组成。第一部于2006年5月起在《科幻世界》杂志上连载。该系列小说讲述了地球人类文明和三体文明的信息交流、生死搏杀及两个文明在宇宙中的兴衰历程。其第一部经过刘宇昆翻译后获得了第73届雨果奖最佳长篇小说奖。 刘慈欣，1963年6月出生于北京市，祖籍河南省信阳市罗山县，山西阳泉人。他毕业于华北水利水电大学，是一名高级工程师，同时也是科幻作家。刘慈欣是中国科幻小说代表作家之一，作品蝉联1999年-2006年中国科幻小说银河奖，并多次获得其他国内外重要奖项，如赵树理文学奖、华语科幻星云奖等。

《三体》在中国科幻文学中的地位和影响

《三体》系列的成功极大地推动了中国科幻文学的普及和繁荣。越来越多的读者开始关注和喜爱科幻文学，科幻作品的数量和质量也得到了显著提升。《三体》系列以其独特的科学理念、丰富的想象力和对人性、社会、文明的深刻洞察，为中国科幻文学的创作提供了新的思路和方向。越来越多的作家开始尝试将科学理论与故事情节相结合，挖掘人类文化和历史内涵，探索新的文学表达方式。《三体》也激发了中国科幻作家的创作热情，越来越多的作家开始尝试科幻文学的创作，为中国科幻文学注入了新的活力。同时鼓励更多的作家追求深度和广度，提升中国科幻文学的整体水平。 《三体》系列在国际上的成功提升了中国科幻文学的地位和影响力。中国科幻文学开始受到国际社会的关注和认可，为中国文化的国际传播开辟了新的途径。《三体》系列的成功增强了中国科幻作家的文化自信。他们开始更加自信地面对国际读者和评委，展现中国科幻文学的独特魅力和深度。同时，《三体》也向世界展示了中国人的创造力和思考力，为中国文化的国际传播赢得了更多的赞誉和尊重。

《三体》体现中国文化价值观

人定胜天的信念

“天行健，君子以自强不息”，五千多年来，中华民族在探索自然、谋求生存的过程中历练出刚健有为、勤劳勇敢、积极向上、坚忍不拔的精神品格。在困难面前，我们相信人定胜天。 洪水泛滥，不问先知，自己疏通河渠；疾病流行，不求神迹，自己尝遍百草；后羿射日、精卫填海、愚公移山……这些上古神话中蕴含着中国人的生存哲学和精神力量。 在《三体》中，人类文明和三体文明的科技水平差距巨大，三体仅派出两颗“智子”就能干扰地球所有的粒子加速器，使人类基础科学再难前进一步。三体世界还向人类发来最蔑视的信息——“你们是虫子”。虫子与人类的差距远大于地球与三体的差距，但是人类使用各种办法都没有彻底消灭虫子，三体人似乎忘了一件事，虫子从来就没有被真正战胜过。即使人类在三体世界面前如蝼蚁般弱小，但是人类从未放弃斗争，这恰恰是中国人骨子里坚韧精神的生动体现。

为子孙后代计深远的传承

家庭观念在中国传统文化中有着重要的地位。在中国传统的政治构造中，家国是同构的：“家”是小“国”，“国”是大“家”。中国社会以家庭为中心的文化衍生出一整套思维和生活方式，《三体》中的英雄形象往往都具有传统意义上“君父形象”的意味，他们冷峻理性，在危机时力挽狂澜，作为人类的“大家长”肩负着抵抗外敌、延续人类文明的重担，最后的结局也几乎都是舍生取义，为整个人类的生存牺牲自己。家族传承精神扩大到国家就变为中华民族绵延数千年的历史传承。《三体》中人类为抵御外星入侵设计的许多计划都延续几十到上百年，只有拥有五千年文明历史的民族才会更偏向于设计与想象出这些需要代代相传的计划，小说也因此具有一种史诗感。 在设定上，三体舰队于400年后到达地球，相应的人类与三体世界的斗争策略也以百年计，比如太空军利用“冬眠”技术向未来输送人才，掩体计划、黑域计划、研制曲率驱动飞船，等等。

中国式角色

《三体》中也有独特的中国式主角被读者所牢记，如汪淼、章北海和程心都是亚马逊读者书评中出现频次较高的角色。 章北海是非常典型的中国军人形象，他坚强智慧，胸怀大义，出身军人世家。 章北海的父亲是未来史学派成员，预判末日之战中人类必败，他用极为隐晦的话“要多想”向章北海暗示末日之战的结局。 章北海继承父亲的遗志， 在必败的战争中为人类留下希望的火种。 有读者评论称章北海“在最危急的时刻想出一个令人震惊的、非人道的解决方案来拯救人类”，读者在结合书中背景后，对章北海身上的人类理性一面产生共鸣，同时也对中国人高度的使命感、奉献精神和牺牲精神产生新的认识。 而程心被英语地区读者称为“该系列中最好的主角，她是最令人难忘的。或许不是最好的，但她是最容易在你的脑海中保持独特的角色。”程心的每一次选择确实都贯彻了人类社会所构建的道德体系中的“善”这一理念。尊重人的生命，博爱、关怀所有人，程心切身践行了她理念中的“人性”，在程心的语境里，“人性”当然等同于“善”——毋宁说，程心通过她的选择重新定义了“人性”，程心最后真正保护了的，也就是这样的“人性”，而非人类本身。对于程心来说，失去人性，才是失去一切。

问题

1.《三体》在国际上的成功对中国科幻文学有何影响？ 2.《三体》是如何体现中国文化价值观的？ 3.你最欣赏《三体》中的哪个角色？为什么?

参考文献

[1]李建福,高序莹.浅析刘慈欣《三体》中的现实主义思想及中国叙事.现代交际,2023,(06):89-97+123-124.

[2]解仲慧.“英雄”的失落与重塑——论《三体》中的人性之思.名作欣赏,2024(15):143-146.

[3]崔波,陈子馨.中国文学作品的海外扩散机制研究——基于《三体》的考察.数字出版研究,2024,3(01):104-112.

Chu Shoujuan |Ganshi in Xiangxi: The Cycle of Life and Death under Ancient Witchcraft

Introduction

Xiangxi, a mysterious land in the western part of China's Hunan Province, has been one of the cradles of witchcraft culture since ancient times. In this deep land of mountains and streams, there is an ancient and mysterious legend - Xiangxi drives the dead. This is a strange ceremony to bring the bodies of people who died in a foreign land back to their hometown and bury them in the ground, and it is called "three evil spirits in western Hunan" with poison and the Fallen flower Cave woman. 湘西，这片位于中国湖南省西部的神秘土地，自古便是巫文化的发源地之一。在这片崇山峻岭、溪流纵横的深邃之地，流传着一个古老而神秘的传说——湘西赶尸。这是一种将客死异乡之人的尸体带回家乡，让他们入土为安的奇特仪式，与蛊毒、落花洞女并称“湘西三邪”。

Main Part

The origin of Xiangxi corpse drive can be traced back to ancient times. According to folklore, thousands of years ago, Chiyou led soldiers in fierce battles with rival tribes, and the battlefield was littered with corpses and rivers of blood. After the war, Chiyou could not bear his soldiers to die in a foreign land, so he asked his military adviser to use magic to let the dead soldiers return home. The military adviser dressed up as Chiyou, silently reciting incantations and praying to the gods, and those who had originally fallen to the ground actually stood up and followed the guidance of the "Fu Jie" and walked south. This is the earliest legend of Xiangxi driving dead.

湘西赶尸的起源，可追溯到遥远的古代。据民间传说，几千年前，蚩尤率兵与敌对部族激战，战场上尸横遍野，血流成河。战后，蚩尤不忍战士们客死他乡，便请军师施展法术，让战死的将士们魂归故里。军师装扮成蚩尤的模样，默念咒语，祷告神灵，那些原本倒在地上的尸体竟然站了起来，跟随“符节”的指引，向南而行。这便是湘西赶尸最早的传说。（Wang Yanan 2018, 186）

However, it was in the middle of the Qing Dynasty that Xiangxi corpse driving really formed a profession and was widely spread among the people. At that time, people in the western Hunan region took the bodies of their relatives who had died abroad back to their hometowns for burial as a show of filial piety. However, due to the long road, inconvenient transportation, coupled with the complex terrain of the Xiangxi area and the rugged mountain road, it is extremely difficult to transport the body. Therefore, some people who know witchcraft will use the "secret art" to "drive" the body back to their hometown. These people are called "driving the corpse mason", they hold "Chen Zhou Fu", the mouth mutters words, leading the body in the night forward.

然而，湘西赶尸真正形成一种职业，并在民间广为流传，则是在清朝中期。当时，湘西地区的人们将客死他乡的亲人尸体运回家乡安葬，以示孝道。但由于路途遥远，交通不便，加之湘西地区地形复杂，山路崎岖，运送尸体极为困难。于是，一些懂得巫术的人便利用“秘术”，将尸体“赶”回家乡。这些人被称为“赶尸匠”，他们手持“辰州符”，口中念念有词，引领着尸体在夜色中前行。

The ritual of removing the dead in Xiangxi is full of mystery. The mortuary usually sets out at night, dressed in Taoist robes and carrying a dementor bell, followed by a string of bodies strung together with straw ropes. Instead of using lanterns, they use bells in their hands and incantations in their mouths to find their way. As the body walked, it wore a tall felt hat, and a yellow paper with a mark on its forehead was draped over its face to conceal it. Such a scene, in the mountains of western Hunan, appears particularly strange and mysterious.

湘西赶尸的仪式充满了神秘色彩。赶尸匠一般选择夜晚出发，身穿道袍，手持摄魂铃，身后跟着一串用草绳串联的尸体。他们不打灯笼，只靠手中的铃铛和口中的咒语辨别方向。尸体在行走时，头戴高筒毡帽，额上压着画着符的黄纸，垂在脸上，以遮盖面容。这样的场景，在湘西的深山中，显得尤为诡异和神秘。

Xiangxi exorcist ritual although mysterious, but not without trace. According to relevant literature records, there is a saying of "three drives, three not drives" in Xiangxi. Those who have been beheaded, hanged, or killed in cages can be driven away, because these people were forced to die, died unconvinced, and missed both home and loved ones. Those who died of illness, those who hanged themselves voluntarily by throwing themselves into a river, and those who were burned by lightning with incomplete limbs could not be driven away. This is because the person who died of illness has spent the rest of his life, and his soul has been hooked by the impermanent ghost to Yama; The souls of those who hang their necks in the river are "being replaced" and are being handed over; And those who die when lightning strikes fire are sinful and cannot be driven away.

湘西赶尸的仪式虽然神秘，但并非无迹可寻。据有关文献记载，湘西赶尸有“三赶，三不赶”之说。凡是被砍头、受绞刑、站笼站死的尸体可以赶，因为这些人是被迫死的，死得不服气，既思念家乡又惦念亲人。而病死的、投河吊颈自愿而亡的、雷打火烧肢体不全的尸体则不能赶。这是因为病死的人已享尽天年，其魂魄已被无常鬼勾至阎罗王处；投河吊颈者的魂魄是“被替代”的，正在交接中；而雷打火烧而亡者则属罪孽深重之人，无法驱赶。（Lu Qun 2007, 56-57）

With the development of science and technology, people have gradually explored the mystery of "driving the dead". "Driving the body" does not mean that the body will actually walk on its own, but that someone will carry it on its back. The removal of the head and limbs of the deceased from the original body, and then coated with embalming agents, so that for a period of time, it can not decompose. At the same time, in order to prevent excessive inquiry into their profession, they would choose to wear Taoist robes and carry a dementor bell and travel at night. When the body is delivered to the home of the deceased, people, out of awe and comfort at seeing the deceased, no longer doubt whether the body is intact or whether the removal of the body is a hoax.

随着科学技术的发展，人们逐渐探寻到了“赶尸”的奥秘。“赶尸”并不是尸体真的会自己走路，而是有人将它背着走。赶尸匠先将死者的头部和四肢从原本的尸体上面截下来，然后涂上防腐药剂，这样就能保持一段时间不腐烂。同时，为了防止旁人对他们职业的过分探究，他们会选择身着道袍，手拿摄魂铃，晚上赶路。等到尸体送到死者家中时，人们出于对死者的敬畏和见到死者后的安慰,便不再去怀疑尸体是否完整，赶尸是否是个骗局了。（Zhang Dawei 2016, 18-22）

Conclusion

Although Xiangxi body removal is full of mystery and horror, it also reflects people's respect and nostalgia for the deceased. In the land of Xiangxi, driving dead bodies is not only a profession, but also a cultural inheritance and belief. Nowadays, with the progress of science and technology and the convenience of transportation, Xiangxi has gradually faded out of people's vision. However, the legends and stories about Xiangxi driving the dead are still spread among the mountains and rivers of Xiangxi, becoming an eternal legend in this land. 湘西赶尸虽然充满了神秘和恐怖色彩，但它也体现了人们对逝者的尊重和怀念之情。在湘西这片土地上，赶尸不仅是一种职业，更是一种文化传承和信仰体现。如今，随着科技的进步和交通的便利，湘西赶尸已经逐渐淡出了人们的视野。但那些关于湘西赶尸的传说和故事，却仍然流传在湘西的山水之间，成为这片土地上永恒的传说。

Questions

1. What are the "Three evils of Xiangxi"?
2. Which legend does the "corpse drive" come from?
3. Why doesn't the body rot?
4. “湘西三邪”是什么？
5. “赶尸”起源于哪个传说？
6. 为什么尸体不会腐烂？

References

[1]Wang Yanan王亚男. 湘西赶尸文化探秘(Ganshi in Xiangxi culture exploration) [J]. 电脑迷(computerite), (2018),(02): 186. [2]Lu Qun陆群. 神秘的湘西赶尸(Mysterious Ganshi in Xiangxi) [J]. 文史博览(Extensive literature and history), 2007, (05): 56-57. [3]Zhang Dawei张达玮. 湘西赶尸的宗教与伦理意蕴——兼论原始信仰作为人的存在方式(On the Religious and Ethical Implications of Ganshi in Xiangxi----Concurrently Discuss Primitive Belief as a Way of Human Existence) [J]. 黔南民族师范学院学报(Journal of Qiannan Teachers College for Nationalities), 2016, 36 (04): 18-22.

Li Xun | Chinese Animation

Overview

Chinese animation refers to animation and comics in China (mainland).

Chinese animation originated in the 1920s. In 1922, the first advertising animation in China, "Shu Zhen Dong Chinese Typewriter," was produced. In 1926, the first animated film in China,"Da Nao Studio," was produced. In 1935,the first audio animated film in China,"Camel Dancing," was produced, opening a page in the history of Chinese animation. In the 1940s, the Wan brothers created the first feature film of Chinese animation,"Princess Iron Fan," which was released in Southeast Asia and Japan and received warm welcome, laying a good foundation for Chinese animation to go international. Chinese animation has had an unparalleled glory, which also proves that Chinese animation has strength and has artistic laws suitable for its development. Looking at the development of Chinese animation over the past few decades, it can be seen that Chinese animation has always been committed to a path with its own characteristics.（中国动漫_百度百科 (baidu.com)）

Zhu Ran |Military-style Travel

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Long Yuhan |

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Pei Xinxian |

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Li Shujing |Music and Instruments: Suona Horn

Introduction

Suona, Chinese double-reed woodwind instrument, the most commonly used double-reed instrument. Similar to the shawm, the suona originated in Arabia; it has been widely used in China since the 16th century. The reed is affixed to a conical wooden body covered by a copper tube with eight finger holes (seven in front and one in back), to which is fitted a brass bell. Its range is generally about two octaves, and it comes in many sizes. The suona is characterized by its shrill and penetrating sound and the frequent use of tonguing in performance. It is much used in military music ensembles and religious processions and as a stage instrument in Chinese operas.

Position in Chinese Folk Music

The original suona is a musical instrument spread in Persia and Arabia, and even its name is a transliteration of the ancient Persian word Surnā. Suona appeared in China around the third century AD. There are already images of suona playing in the Jiyue murals in Cave 38 of Kizil Grottoes in Baicheng, Xinjiang. In the Jin and Yuan dynasties more than 700 years ago, it spread to the Central Plains of China. During the Ming and Qing dynasties, it was widely used in folk music bands for weddings and funerals, and was also used as an accompaniment for folk songs, dances and operas.

"Birds Paying Homage to the Phoenix", originally named "Ten Scenes", is the most representative among many suona tunes, demonstrating the expressiveness of the suona to an extreme. In the sound of "Birds Paying Homage to the Phoenix", there are warbler singing and dancing, birds and flowers, contributing to a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.birds and flowers, a vibrant natural scene. The song is full of the author's yearning and pursuit of a free and beautiful life, and also has a lively and rough life atmosphere.

As a traditional folk instrumental music performance art and one of the most valuable intangible cultural heritages with folk art charm, suona art plays an important role in Chinese folklore. Suona is believed to ward off evil spirits and bring good luck, making it a common choice for auspicious occasions like New Year celebrations, birthdays, marriage ceremonies and harvest festivals. Meanwhile, suona is often used in funeral ceremonies, accompanying the procedures of wake, condoling and burial, and in some places, suona is also used in grave digging ceremonies. Suona's deep tones evoke emotions ranging from joy and celebration to sorrow and remembrance, reflecting the complex tapestry of human experiences.

Except its significance, the precious cultural value of suona can not be ignored, which can be concluded as historical value, artistic value, folklore value and humanistic value.

After hundreds of years of cultural exchanges and integration between the north and the south, suona has formed its unique characteristics and customs. Through the long historical development, people can appreciate the developing path and passing on traditions of Chinese folk music. In terms of craftsmanship, suona is crafted from materials like bronze or brass, showcasing the skills of metalworkers from different periods. They have evolved over time, with modern versions incorporating improvements in design and playing techniques, while still maintaining their traditional essence.

In summary, the artistic value of the suona lies in its ability to express human emotions, convey stories, showcase virtuosity, represent diverse regional cultures, and serve as a cultural symbol within Chinese society. Take the regional diversity for example, suona exists in several variations across China, each with its distinct style and local nuances. Each region in China has its own style of playing the suona, like the famous "Lanzhou Suona" from Gansu Province or "Huangmei Suona" from Anhui. These local variations carry rich cultural heritage and are an expression of regional identity. These regional differences reflect the country's rich cultural diversity and contribute to the overall artistic richness of the instrument.

Besides being used in Chinese traditional ceremonies, suona has other values in different aspects. During village gatherings or agricultural rituals, suona bands are common, providing entertainment and a sense of unity among community members. In some cases, the suona is believed to have spiritual properties, believed to ward off evil spirits or bring blessings through its music. Overall, suona plays a vital role in Chinese folk culture, serving as a connection to the past, a source of communal joy, and an integral part of diverse local traditions.

Suona embodies a deep connection to human values such as cultural continuity, emotional expression, resilience, storytelling, and the pursuit of harmony, making it a valuable aspect of our collective humanistic heritage. During community gatherings and ceremonies, suona's sound unites people and creates a sense of unity, reinforcing the importance of social cohesion and shared experiences. What’s more, the use of suona in traditional Chinese music often reflects the harmony between man and nature, symbolizing the balance sought in human life and the environment.

In China, the traditional suona is mainly used in weddings, funerals and other ceremonies in rural areas. However, with the acceleration of urbanization and the influence of western culture, the living space of suona is becoming narrower and narrower. It is necessary to open up new space for the inheritance and development of suona.

To some extent, the expansion of new media channels can reduce suona's dependence on wedding and funeral ceremonies, weaken its functional limitations, and develop its modern musical attributes and characteristics. With the development of new media technology, the communication advantages of platforms such as Douyin, Kuaishou and XiaoHongshu continue to be highlighted, with fast communication speed, wide dissemination range, strong interaction and wide audience, which are deeply loved by young people. Inheriting suona skills through new media channels can not only broaden the spreading space of suona, but also improve the spreading effect.

The inheritance and innovation of suona cannot be separated from talents, and the development of suona can be injected with fresh blood through innovative talent training mode. Suona artists must break the barriers between families and factions, learn from each other, and form a joint effort to cultivate the next generation. Meanwhile, suona artists should strengthen the consciousness of people's culture, realize the importance of protecting these instrumental music cultures, and establish a system of inheritance and protection. While maintaining traditional cultural characteristics, we try to integrate fresh cultural elements into it to make it more in line with modern aesthetics and awaken the cultural emotions of the whole people.

At the same time, the inheritance and development of suona cannot be separated from the support of the government. The promulgation of the intangible cultural heritage regulations protects this intangible cultural heritage project to a certain extent, but it is far from enough. A series of relevant measures should be introduced to implement the policy in detail. The decline of suona is the decline of traditional folk culture from the root. Local governments should protect suona culture from the root, organize various forms of folk culture programs, so as to give suona culture more opportunities to be displayed and give it more official recognition.

References

https://www.britannica.com/art/suona

Chen Jiawen |

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=Xiang Lu |=Music: Sang Zhi Folk Songs

Introduction

桑植县，隶属于湖南省张家界市，位于湖南西北边陲, 是贺龙元帅的故乡、红二方面军长征出发地, 拥有中国首批、湖南省首个国家级自然保护区八大公山原始森林，被纳入中国“人与生物圈保护区（MAB）”和“中国具有全球意义的17个生物多样性关键地区之一”。 桑植民歌，湖南省桑植县地方传统音乐，国家级非物质文化遗产之一。

Development

桑植民歌起源于原始农耕时期先民日常生产生活中的歌谣，是湖南省桑植县百姓在长期的生活实践中创造、传唱、累积起来的民间音乐文化品种，已有2000多年的历史。桑植民歌节奏明快、旋律优美、曲调丰富、形式多，现存民歌一万余首，著名歌曲有《马桑树儿搭灯台》、《冷水泡茶慢慢浓》、《门口挂盏灯》等。 屈原在《九歌》中写道：“捐余玦兮江中，遗余佩兮醴浦。”《九歌•湘人》中更是记载到：“沅有茝兮醴有兰，思公子兮未敢言。荒忽兮远望，观流水兮湲”，“成礼兮会鼓，传芭兮代舞，姱女倡兮容与。春兰兮秋菊，长无绝兮终古”，这是最早与桑植以及桑植民歌有关的文字。此处的“醴”便是指现在的澧水。澧水是湖南的四大水系之一，在常德市澧县小渡囗注入洞庭湖。 《后汉书·马援传》记载：“二十四年，武威将军刘尚击武陵五溪蛮夷，深入，军没，援因复请行。”“贼每升险鼓噪，援辄曳足以观之，左右哀其壮意，莫不为之流涕。”名将相单程凭借天险据守数月后将马援军队困在沅江南岸的壶头 山，马援望江兴叹，一筹莫展，“升险鼓噪” 的典故由此而来。其中“鼓噪”在当时也称“蛮歌”，随后演变成如今的桑植民歌。（王胤，试述桑植民歌歌词的语言艺术，33） 明代，桑植土司率桑植数干土家儿郎应朝廷之召远赴江浙、朝鲜三度抗倭。在抗击倭寇（13-16世纪的日本海盗），的过程中，《马桑树儿搭灯台》应运而生。关于马桑树有两种说法：一说是传说中的马桑树儿高大挺拔，男女双方依依不舍，马桑树下送情人远去；二说是痴情男女搭建树台，台上放置一盏油灯，在灯下写信，心系远方。这就烘托出一对坠入爱河的青年男女分手时的不舍情绪，在1928年的夏天，红军师长贺锦斋用这首桑植民歌与爱妻戴桂香生离死别，她终生素衣守寡，6多年里几乎每天都去丈夫坟前唱这首歌，每天摘一两片马桑叶，直到离世，她留下的一口木箱，装的全是马桑叶。（王胤，试述桑植民歌歌词的语言艺术，37） 清代同治年间的《桑植县志》载：“雍正五年（1727年），邑人张宏毅偕侄崇周、仕周在县城西捐地创建武庙，有歌楼。”1942年版的《桑植县志》印证了这一说法：雍正五年，邑人张宏在城西捐地创建武庙，有歌舞楼，白叟黄童尽歌舞。乾隆年间的《桑植县志》记载：“土家正月赛灯、摆手、唱摆手歌，为秋千之戏，至正月十六为止。”此外，清嘉庆二年桑植河口人沙文清创作了《挽友人》称：“日边飞送燕歌声，疑信偏教旅梦惊。”其“越歌，为丧歌”说明了桑植民歌在清代已经较为普及。（只宠迩一人，baidu.com） 在近代中国，著名的开国将领贺龙在桑植“两把菜刀闹革命”，建立了以桑植为核心的湘鄂革命根据地。云、贵、川、滇、鄂、桂、赣等地的红军在此集结，带来了各地民歌，和桑植民歌融合在一起，推动了桑植民歌的发展。桑植民歌也收到时代影响，创作了许多反映军民感情的歌曲，如《门口挂盏灯》等。 新中国成立后，中国政府先后组织文艺工作者搜集桑植民歌，共计有10000余支。20世纪50年代，桑植民歌就唱到省垣京城。60年代，桑植县文化馆搜集整理民歌1万多首。 1987年湖南民间歌舞团前往波兰参加国际民间歌舞晚会，首次将桑植民歌推向国际舞台；2004年，歌唱家宋祖英在维也纳金色大厅举行个人独唱音乐会，演唱《马桑树儿搭灯台》；2008年，歌唱家雷佳将《马桑树儿搭灯台》收录至《中 华五十六民族之歌》，作为国礼赠送给参加奥运会的各个国家。 2006年5月20日，桑植民歌经中华人民共和国国务院批准列入第一批国家级非物质文化遗产名录，项目编号：Ⅱ-10。

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--Mou Yihong (talk) 08:35, 7 June 2024 (UTC)=Mou Yihong |Music and instrument: Ancient Chinese pentatonic scale--Gong,Shang,Jue,Zhi,Yu=

Abstract

This paper examines the ancient Chinese pentatonic scale, comprising the notes Gong, Shang, Jue, Zhi, and Yu. We delve into the historical background, musical characteristics, and instrumental applications of this scale in traditional Chinese music. By exploring the role of these five notes in various musical genres and instruments, we aim to provide a comprehensive understanding of the pentatonic scale in ancient Chinese music and its cultural significance.

Introduction:

The ancient Chinese pentatonic scale, consisting of Gong, Shang, Jue, Zhi, and Yu, is a fundamental component of traditional Chinese music. This scale, with its unique sound and symbolism, has been utilized in various forms of Chinese music for centuries. It is not only a musical construct but also deeply intertwined with Chinese culture, philosophy, and cosmology. This paper explores the pentatonic scale in ancient Chinese music, focusing on its historical evolution, musical characteristics, and instrumental applications.

Historical Background:

The pentatonic scale in ancient Chinese music dates back to the prehistoric era, where it was likely first used in primitive folk music and rituals. Over time, this scale became a fundamental component of traditional Chinese musical theory and practice. The earliest recorded mention of the five notes, Gong, Shang, Jue, Zhi, and Yu, appears in ancient texts such as the "Book of Rites" and the "Book of Songs." These notes were associated with the five elements of nature (earth, metal, wood, fire, and water) and the five directions (center, west, east, south, and north), reflecting the ancient Chinese belief in the interconnectedness of all things in the universe.Gong, the first note, represents the element of earth and is characterized by its stability and grounding sound. Shang, the second note, corresponds to metal and has a bright and resonant sound. Jue, the third note, represents wood and is associated with a clear and piercing tone. Zhi, the fourth note, corresponds to fire and is known for its lively and energetic sound. Yu, the final note, represents water and is characterized by its smooth and flowing melody.

Musical Characteristics:

The pentatonic scale in ancient Chinese music is characterized by its simplicity, purity, and balance. Each note in the scale has a unique sound and symbolism, creating a harmonious and balanced musical structure. The ancient Chinese five tones, namely Gong, Shang, Jue, Zhi, and Yu, correspond to the Western musical scales as follows: Gong to C, Shang to D, Jue to E, Zhi to F, and Yu to G. These correspondences are based on the perceived similarity in pitch and musical characteristics between the two systems.The ancient Chinese musical scale having two fewer notes than the Western scale is not a matter of mathematical or physical limitation but rather a result of cultural and aesthetic preferences. The five-tone system in ancient China was based on the concept of "five elements" (wood, fire, earth, metal, water) and their corresponding relationships with the human body and nature. This system emphasized balance, harmony, and simplicity, which were reflected in the musical scale as well. The two omitted notes, Fa and Si, in the Western scale are considered semi-tones, and their absence in the ancient Chinese scale contributes to a more harmonious and balanced sound.The lack of semi-tones in the ancient Chinese scale has a profound impact on the character and expression of Chinese music. It contributes to a more serene, harmonious, and meditative quality that is often associated with traditional Chinese melodies. The absence of sharp dissonances and the emphasis on balance and simplicity allow the music to flow smoothly and evoke deep emotional responses. This unique aesthetic is a defining characteristic of Chinese music and has influenced its development and evolution throughout history.In summary, the ancient Chinese five-tone system, while differing from the Western scale in terms of note count, possesses its own unique aesthetic value and influence on Chinese music. Its simplicity, balance, and harmonious sound have contributed significantly to the rich cultural heritage of Chinese music.

Instrumental Applications:

The pentatonic scale has been utilized in various traditional Chinese musical instruments, including the zither (guqin), the bamboo flute (dizi), and the pipa. These instruments have unique playing techniques and expressive capabilities that bring out the distinctive sounds and characteristics of the five notes. The zither, for example, utilizes plucking and finger-pressing techniques to create the rich and resonant tones of the pentatonic scale. The bamboo flute, on the other hand, relies on breath control and fingering to produce the clear and piercing melodies of the scale. The pipa, a four-stringed plucked instrument, utilizes plucking and strumming techniques to create a lively and energetic soundscape within the pentatonic scale.

Cultural Significance:

The pentatonic scale in ancient Chinese music is not merely a musical construct; it is also deeply rooted in Chinese culture and philosophy. The five notes correspond to the five elements of nature and the five directions, reflecting the ancient Chinese belief in the interconnectedness of all things in the universe. The pentatonic scale also embodies the Chinese concept of harmony and balance, representing the harmonious coexistence of different elements and forces in nature. This cultural significance has been passed down through generations, influencing the development and evolution of traditional Chinese music and instruments.

Conclusion:

The ancient Chinese pentatonic scale of Gong, Shang, Jue, Zhi, and Yu is a unique and fundamental component of traditional Chinese music. This paper has explored the historical background, musical characteristics, and instrumental applications of this scale, revealing its deep connections with Chinese culture and philosophy. By understanding the pentatonic scale and its role in traditional Chinese music, we gain a deeper appreciation of the richness and complexity of this ancient musical tradition.

Yu Xinzhong | Social Phenomenon: Modern China's Inter-provincial Migration

Overview:

The phenomenon of population migration has been very common in ancient China, but since modern China, especially after the reform and opening up, the inter-provincial migration of China’s population has become unprecedentedly common. The main reason for that is absolutely economy. Such waves of migration have brought significant economic benefits to the regions where the population moves in, but at the same time, they have also given rise to a series of economic, social, and cultural issues. In the process of migrating to improve their standard of living, migrants also undergo certain hardships.

The Process of The Migration

Song Chengshuang |

Chinese tradition culture：Zan hairpin flower

Many tourists have recently come to Quanzhou to experience the XunPu women's hairpin flowers because of this saying, "Adorn yourself with flowers in this life, be beautiful in the next". Quanzhou is a city with a long history and culture in China, with mountains and seas, rich cultural heritage and historical heritage. "Zanhua" is also one of the characteristic cultures of the local XunPu Village. Hairpin flower is actually a type of ancient Chinese headwear, usually fixed on a bun by an ivory hairpin, and then wrapped with flowers in nature or flowers made of other materials. The Zanhua culture has a long history of two to three thousand years and is one of the national intangible cultural heritages.

Cultural customs

As for why it is necessary to hairpin and Zanhua, some people say that the locals initially used animal bones such as fish, sheep, and cows to hairpin, which preserves the ancient custom of "bone needles to secure hair". Others say that "Zanhua Wei" originates from the custom of Central Asian women wearing flowers, which is brought back by the exchange of the Maritime Silk Road during the Song and Yuan dynasties. XunPu women are known for their qualities of Diligent Housekeeping. In order to facilitate their work at the seaside, they wear a large train top, wide tube pants, headwear such as "Zanhua Wei" and earrings such as "DingXianggou", which have become typical features of XunPu women. The headwear and folk culture of the XunPu women record their optimistic attitude towards life, and it is every woman's longing and pursuit of beauty. In addition, it is also a microcosm of ocean culture and the Maritime Silk Road. With its unique geographical environment and cultural characteristics, XunPu embodies the philosophical idea of "Heaven and Man are united as One" in which foreign culture coexists with local culture. [1]

Historical development

Zanhua originated in the Qin and Han dynasties, became popular in the Tang dynasty, flourished in the Song, Yuan, and Ming dynasties, and gradually declined during the Qing dynasty.

（1） The Zanhua Culture Before the Tang Dynasty

The Zanhua culture has a long and rich history, and its development can be traced back to the Warring States period. At that time, although the Zanhua Culture had not yet formed, people began to use flowers as headwear to express their inner emotions. During the Qin and Han dynasties, the trend of hairpin flowers gradually emerged. Especially in the Han Dynasty, women in the Sichuan regions regarded hairpin flowers as fashionable, which is evidenced by the Eastern Han Dynasty pottery figurines with mirrors unearthed in Chengdu. From the Wei, Jin, Southern and Northern Dynasties to the Tang Dynasty, the trend of hairpin flowers became increasingly fierce.

（2） The Zanhua Culture of the Tang Dynasty

The Tang Dynasty was the golden period of Zanhua culture, and both the royal nobles and common people were enthusiastic about hairpin flowers on their heads, forming a unique social trend. The high attire flower bun of Tang Dynasty women was particularly popular, which not only was gorgeous and eye-catching, but also laid the foundation for the popularity of the "flower crown" in the Song Dynasty. In the painting of Portrait of a Flower-wearing Maid, the author uses the elements of flowers to depict the wealth and prestige of aristocratic women in the palace, reflecting the Zanhua Culture at that time. In the painting, except for the maidservants, five noble women are adorned with hairpins on their heads, using vigorous and clean brushstrokes, appearing incredibly beautiful and radiant. In addition, the Zanhua Culture during the Double Ninth Festival also adds to the festive atmosphere. [2] Wang Wei wrote in his poem "Memories of Shandong Brothers on September 9th": " I know from afar where my brothers are climbing high, but one less person is missing when they wore with Cornus officinalisu everywhere." Here, "wore Cornus officinalis" expresses the custom of the Zanhua Culture during the Double Ninth Festival. On the Double Ninth Festival, besides wearing Cornus officinalis, people also have the custom of wearing chrysanthemums. During the Double Ninth Festival, when people climb high to play, they usually have to put chrysanthemums all over their heads to go home.

（3） The Zanhua Culture of the Song Dynasty

In the Song Dynasty, the hairpin culture reached its peak, men's hairpin became popular and became a court etiquette at that time. Compared with the Tang Dynasty, it was more common for men in the Song Dynasty to hairpin flowers, and it was not limited to festivals or celebrations. In the Song Dynasty, people believed that wearing flowers on the head was auspicious, so during that period, when encountering major events, the emperor and officials would wear flowers. During the reign of Emperor SongTaizong, a banquet and flower were held for the annual Jinshi ceremony, and people had to hairpin flowers as rewards. At the same time, women in the Song Dynasty were also enthusiastic about using flowers to dress themselves up. They would choose suitable flowers according to seasonal changes and display different styles. The love for hairpin flowers among literati in the Song Dynasty also reached a climax. They believed that wearing flowers on their heads not only looked beautiful, but also reflected the elegance and taste of literati. Su Shi, a great poet in the Song Dynasty, was very fond of hairpin flowers. He once said, "When people grow old, they should not be ashamed of hairpin flower. Flowers should be ashamed of on the head of old people.” The hairpin flowers of Song Dynasty poets not only reflect the aesthetic taste and characteristics of the time, but also reflect the open and free mentality of the entire society, containing rich humanistic spirit."

（4） The Zanhua Culture After the Song Dynasty

In the Yuan, Ming, and Qing dynasties, the custom of hairpin flowers evolved. Although it was not as popular as in the Song dynasty, it still remained within a certain social class and specific festival celebrations. For example, the records of the Zanhua Culture in the Ming Dynasty mainly appeared in social activities such as the Spring Festival, imperial examinations, wedding customs, expeditions, and leisure activities. [3] And with the development of makeup technology, hairpins are more often combined with hairstyles and makeup, becoming a part of overall image design.

（5） The Zanhua Culture in the Modern and contemporary times

From modern times to today, the tradition of hairpin flowers has been preserved in some regions and specific contexts, such as the bride's wedding headwear, folk festival activities, and the costumes of characters in traditional Chinese opera performances and has evolved into hairpin flower ornaments made from various materials such as flowers and silk flowers.

The significance of hairpin flowers

（1） Decorative

Hairpins initially appeared as headwear, reflecting personal elegance and lifestyle, especially for women who show beauty through hairpins.

（2） Symbolic significance

Different flowers have their own meanings, such as peonies symbolizing wealth and auspiciousness, and plum blossoms symbolizing pride and a clear breeze. Wearing them can express the wearer's emotional support or pursuit of beautiful qualities.

（3） Social status markers

In certain historical periods, hairpins became makers of status and identity. For example, during the Song Dynasty, emperors gave flowers to officials, and officials of different levels received flowers of different materials and colors. As a result, hairpins had the function of distinguishing between official ranks.

From ancient times to the present, hairpin flowers not only have ornamental value, but also represent traditional culture and epitome of Eastern aesthetics. People of different ages, regardless of gender, continue this long-standing tradition of meticulously embellishing themselves with clusters of flowers, living seriously, and striving to live beautifully. The Zanhua Culture blooms with a timeless fragrance, as well as a rich life belonging to ordinary people. With the changing times, hairpin flower is not only a decoration, but also a symbol of cultural inheritance, carrying people's longing and pursuit for a better life. In modern society, hairpin flower has also become artworks and collectibles, showcasing the fusion of tradition and modernity. Both classical and modern styles of hairpins reflect the vastness and profundity of Chinese culture, as well as the charm of traditional aesthetics.

References:

[1]袁晓鹏.泉州蟳埔女头饰民俗文化的美学思想研究[J].戏剧之家,2015,(22):247.

[2]张轶梁.《簪花仕女图》的簪花艺术表现及文化传承[J].东方收藏,2023,(09):33-35

[3] 庞雅静 .《簪花仕女图》的色彩美研究 [J]. 美与时代（中），2022（08）：63-65.

Tan Yalan |Xiangdao

Please start to write now.

Xiao Ye |The Imperial Civil Examination System

Introduction

The imperial civil examination system is an ancient Chinese system of selecting officials through examinations. From its inception to its abolition in 1905, it had a long history of more than 1,200 years and had a profound impact on the society at that time. It was considered to be the fairest way of talent selection that could be adopted in the feudal era, but in the later stages of development, its drawbacks gradually came to the fore, and its negative effects became more and more significant. In addition, ancient Japan, Korea, Vietnam and other countries that had close exchanges with China were also deeply influenced by the imperial civil examination system. To this day, the imperial civil examination system still has profound cultural value and significance.(Baidu Encyclopedia：The imperial civil examination system）

Li Sijin |Literature:Qu Yuan

Introduction

Qu Yuan is a famous great patriotic poet in Chinese history, the founder of Chinese romantic literature, and the founder and representative writer of "Chu Ci". 2,300 years ago, the great patriotic poet Qu Yuan threw himself into the Miluo River. The spirit of Qu Yuan has been continuously interpreted since the Han Dynasty, showing distinctive characteristics of the times in each era; The activities and festivals commemorating Qu Yuan have become important cultural traditions of the Chinese nation, and people have increased their sense of belonging and identity through commemorating Qu Yuan. The spirit of Qu Yuan has been widely disseminated and recognized abroad, and the Chinese Dragon Boat Festival has been included in the "Representative List of Intangible Cultural Heritage".

Main Part

In 340 B.C., Qu Yuan was born in the state of Chu. When he was young, he received a good education and had a big ambition. After entering politics, he advocated for "good governance", advocating for internal governance with clear laws and external alliances to resist the state of Qin. Later, he was marginalized by the aristocracy and exiled to the region of the Yuan and Xiang rivers. However, like a warrior, he steadfastly upheld his ideals, practiced the ways of a nobleman, never allowing worldly corruption to tarnish his lofty and noble character. In 278 BC, when there was no way to serve the country , Qu Yuan committed suicide in the Miluo River in complete despair. 1.Qu Yuan's virtue

Qu Yuan used his own name to reflect the moral standards he pursued. According to the opening of "Li Sao," "My father gave me the name 'Zheng Ze,' and called me 'Ling Jun'." "Zheng Ze" signifies integrity and righteousness, adhering strictly to principles of conduct: "Ling Jun" denotes intelligence, wisdom, fairness, and justice. In the "Song of the Orange Tree," he further exemplifies his character by the steadfastness of the orange tree: for the sake of his noble ideals, he would never compromise, even unto death. Qu Yuan's eternal aspiration lies in his literary works and political ambitions, all of which stand on the side of the people. His greatness lies in his unwavering compassion for the country and its people, and his profound love for his homeland. The reason his deeds and works are intertwined with the daily lives of the people and have become a significant commemoration of a traditional festival is because his words and actions overflow with boundless love for the motherland, the people, and the native culture. Deeply embedded within them lies the enduring strength of national spirit and culture. "No one in the country knows me, why cling to the old capital?" Qu Yuan once pondered the question of "why not leave the country," but ultimately, he did not embark on distant travels, which truly reflects his steadfastness to his spiritual and cultural heritage.

2.Qu Yuan's political advocacy and contributions

Qu Yuan was a great politician. On the one hand, he set up the ideal and ambition of "good governance" very early, and the political goal for which he fought for all his life. He advocated internal governance with clear laws and the reform of politics. At this time, Qu Yuan, who was honest, upright and selfless, was supported by King, and the six reform measures he carried out made the state of Chu stronger and stronger. On the other hand, Qu Yuan advocated external alliances to resist the state of Qin. His foreign policy made the state of Chu once present a situation of national wealth and strong army.

3.Qu Yuan's poems

Poet is Qu Yuan's primary label throughout the ages. Qu Yuan integrated his life with his homeland, and his specific works are full of deep feelings for his country, which are worthy of praise and learning for future generations.From his life and works, people have summarized and continuously expounded the "Qu Yuan spirit", and with the changes of the times, it has been constantly endowed with new connotations of the times. He recounted in "Li Sao": "Long did I sigh and wipe away my tears, to see my people bowed by griefs and fears." The poet expressed deep sympathy for the difficult life of the people. And this kind of love and sorrow intertwined also made Qu Yuan refuse to leave his hometown until he died. His feelings for the country and the people also erupted uncontrollably in a series of poetic works such as "Jiu Ge" and "Jiu Zhang". Therefore, Qu Yuan's poetry has incomparable cultural value.

4.The embodiment of Qu Yuan's spirit in modern times

Today, during the Dragon Boat Festival, various regions across China highlight the theme of honoring Qu Yuan, praising his upright path and his spirit of patriotism and love for the people. Through storytelling about the festival and Qu Yuan, reciting poetry, and participating in dragon boat races, they lead the public in learning about traditional culture and nurturing patriotic sentiments.Since the 18th National Congress of the Communist Party of China, he has praised his honest and noble personality on different occasions, andhas repeatedly quoted famous sentences from Qu Yuan's poems to expound his thoughts.Today, as we commemorate Qu Yuan, we honor the traditional Chinese scholar's spirit of confronting life and death, boldly striking at the unknown, represented by Qu Yuan's "Questions to Heaven" spirit. In his epic poem "Questions to Heaven," Qu Yuan delves from the separation of heaven and earth, the changes of yin and yang, to natural phenomena like the sun, moon, and stars, directly questioning mythological legends and historical tales of sages and villains, prosperity and decline. Through his inquiries, he expresses his cosmological, historical, and political views. Not confined by doctrines but driven by reality, daring to question and critique, such exploratory spirit is truly admirable.This shows the Chinese's critical spirit of existing traditional concepts and the spirit of exploring scientific truth. Today, we commemorate Qu Yuan to honor the loyal and unswerving patriotic spirit of Qu Yuan. Qu Yuan's name has become an important label for patriotism. The greatest charm of Qu Yuan's personality lies in the spiritual core with the spirit of patriotism as the core, which allowed him to transcend the value pursuit of scholars at that time to abandon the country and pursue profits, closely link personal ideals with the destiny of the nation, and strive to unite and struggle for the realization of the people's yearning for a better life. Today, we commemorate Qu Yuan to honor the perseverance and struggle spirit of Qu Yuan. Qu Yuan has been worried the Chu State all his life, whether he is in the imperial court or not, he does not forget to think about the country and the people.Unwilling to take a detour, nor willing to compromise, he finally proved his loyalty with his life, and he never regretted it.

Conclusion

"Qu Yuan," as a spiritual symbol, plays an extraordinary role in the construction of the Chinese national community consciousness, spanning from the past to the present and even into the future. Without a great sage like Qu Yuan, the entire Chinese scholarly community would inevitably lack a certain spiritual strength, and Chinese history would lose many tragic hues.

Terms and Expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录

good governance 美政

Questions

1. Who is the founder and representative writer of "Chu Ci"?
2. What is Qu Yuan's political advocacy?
3. What is the meaning of Qu Yuan's name?
4. How Qu Yuan's spirit is embodied in his poetry?
5. What is the meaning of "Questions to Heaven"?

References

[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84.

[2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。

[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190.

[4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.

[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

Translation

Introduction

屈原是中国历史上一位著名的伟大的爱国诗人，中国浪漫主义文学的奠基人，“楚辞”的创立者和代表作家。2300年前，伟大的爱国诗人屈原在汨罗江自杀殉国。屈原精神自汉代以来不断被阐释，在每个时代都展现出鲜明的时代特征；纪念屈原的活动和节日成为重要的中华民族文化传统，人们通过纪念屈原增加了归属感、认同感；屈原精神在国外得到广泛传播和认可，中国端午节被列入“非物质文化遗产代表作名录”。

Main part

公元前340年,屈原出生于楚国,少年曾受过良好教育，志向远大，从政后提倡“美政”，主张对内修明法度，对外联齐抗秦，后遭贵族排挤，被流放至沅湘流域。但他坚守自我理想，践行君子之道，绝不允许世俗的秽气玷污自己美好的品格。公元前278年，在报国无路的情况下，屈原极度绝望，自杀于汨罗江。1.屈原的美德屈原用自己的名字反映追求的道德标准。据《离骚》开篇，“父亲把我的名取为正则，把我的字叫作灵均。”“正则”即正直、正派，恪守做人原则；“灵均”指聪颖、智慧、公平、公正。在《橘颂》中，他又以橘树的“独立不迁”体现自己的人格情操：为了心中美好的理想，绝不同流合污，纵然死去也不后悔。屈原的千古之志，在于其文学作品和政治抱负无不站在人民的立场上。他的伟大之处，在于始终怀着强烈的忧国忧民的悲悯之心，始终怀着强烈的爱国之情。他的事迹和作品之所以能和民众日常生活结合在一起，并成为一个重要传统节日的主要纪念对象，就是因为他的言行流露着对祖国、对人民、对故土文化无限的爱，其中深深蕴藏着民族精神和文化的持久力量。“国无人莫我知兮，又何怀乎故都？”屈原亦曾考虑过“何不去国”的问题，但他最终没有去国远游，这正体现了他对精神和文化的坚守。2.屈原的政治主张及贡献屈原是一名伟大的政治家。一方面，他很早就树立了“美政”的理想抱负，及为之奋斗终生的政治目标。他主张对内修明法度，改革政治。此时，清正廉洁、刚正无私的屈原得到国君支持，其开展的六条变法改革图强措施，让楚国日益强大起来。另一方面，屈原对外主张联齐抗秦。他的外交政策，使得楚国一度呈现出一个国富兵强的局面。3.屈原的诗歌诗人是屈原横贯古今的首要标签。屈原将自己的生命与故土融为一体，在其具体的作品中充斥着对家国深厚的情感，值得后世传颂学习。从他的生平和作品中，人们总结并不断阐发出“屈原精神”，随着时代的变迁，不断地赋予新的时代内涵。他在《离骚》中述说着：“长太息以掩涕兮,哀民生之多艰!”诗人对人民艰难的生活深表同情。且这种热爱与忧患交织着的情感也使屈原至死不肯离乡他就。”他对国家和人民的这种感情在《九歌》《九章》等一系列诗歌作品中，也毫不节制地喷发而出。因此，屈原的诗歌有着无法比拟的文化价值。4.屈原精神在现代的体现今日，每逢端午节，中国各地都突出祭祀屈原的主题，歌颂屈原正道直行、爱国爱民的精神，通过讲述端午节与屈原的故事、开展诗词吟诵和进行赛龙舟等活动，引领公众学习传统文化，厚植家国情怀。党的十八大以来，习近平总书记曾在不同场合多次赞叹其心忧家国、清正高洁的人格魅力，并先后多次引用屈原诗歌中的名句来阐述思想。今天我们纪念屈原，是纪念屈原代表的传统中国士人直面生死、敢向未知勇猛叩击的“天问”精神。在长诗《天问》中，屈原从天地离分、阴阳变化、日月星辰等自然现象，一直问到神话传说乃至圣贤凶顽和治乱兴衰的历史故事，并从设问中表达自己的宇宙观念、历史观念和政治主张。这表现了中国人对既有传统观念的批判精神和对科学真理的探索精神。今天我们纪念屈原，是纪念屈原代表的忠贞不渝的爱国精神。屈原的名字已成为爱国主义的重要标签。屈原人格最大魅力就在于以爱国主义精神为核心的精神内核，让他超越了当时士大夫普遍弃国逐利的价值追求，把个人理想同民族命运紧密联系在一起，为实现人民对美好生活的向往而努力团结奋斗。今天我们纪念屈原，是纪念屈原代表的锲而不舍的奋斗精神。屈原一生都在为楚国操心，无论是否处在朝廷，都不忘忧心国家与人民。不愿迂回，也不愿妥协，最后用生命证明了自己的一腔忠义，也不曾后悔。

conclusion

“屈原”作为一种精神符号对中华民族共同体意识的构建，从过去到现在以至未来都发挥着非比寻常的作用。倘若没有屈原这样一位伟大的先贤，那么整个中国士人群体势必会缺少一种精神的力量，而中国历史也会失掉不少悲壮的色彩。文明弦歌终不绝，屈子精神永流传。守正不守旧，尊古不复古，这是我们对传统文化充满自信的表达。

Terms and expressions

Representative List of Intangible Cultural Heritage 非物质文化遗产代表作名录good governance 美政Questions1.“楚辞”的创立者和代表作家是谁？2.屈原的政治主张是什么？3.屈原名字的内涵是什么？4.屈原的精神是怎样在他诗歌里体现的？5.“天问精神”是什么意思？

References[1] 汤建军. 屈原精神历久弥新的奥秘 [J]. 湖南省社会主义学院学报, 2023, 24 (05): 80-84. [2] 郭晓春：《屈原精神的时代弘扬》，《人民论坛》2019年第19期，第130-131页。[3] 马鑫. 家国情怀视域下的高中屈原作品专题教学研究[D]. 西北师范大学, 2023. DOI:10.27410/d.cnki.gxbfu.2023.001190. [4] 袁双艳. 从《论语》与《楚辞》论孔子与屈原的人生选择 [J]. 汉字文化, 2024, (06): 221-223. DOI:10.14014/j.cnki.cn11-2597/g2.2024.06.003.[5] Wen Z ,Fang F . Study on the Integration of Party History Learning and Education into Ideology Construction in Universities[C]// International Science and Culture Center for Academic Contacts (Moscow, Russia). Proceedings of The 4th International Conference on Education Studies: Experience and Innovation (ICESEI 2023). School of Marxism, Shanghai University of Political Science and Law;, 2023: 6. DOI:10.26914/c.cnkihy.2023.056836

Luo Yang |Games: pitch-pot game(touhu)

Introduction

Pitch-pot game is a ceremonial game played by ancient people during banquets. During the game, a specially made pot is used, and the guests take turns throwing arrows into it. The one who hits the most wins, while the loser drinks. As a classic entertainment activity in Chinese traditional culture, Pitch-pot is not only a competitive game but also a social way of interaction with significant cultural symbolism. With a long history, it embodies rich philosophical thoughts and moral teachings, exerting a profound influence on Chinese etiquette and culture.

The Evolution and Revival of Touhu Culture

Origin and Development

The renowned Han dynasty writer Zheng Xuan mentioned in his work "The Book of Rites - Pitch-pot," that "Pitch-pot evolved from the archery rituals of the Shang and Zhou dynasties." Archery was one of the six arts for noblemen, and the archery rituals evolved into essential etiquette for banquets. However, due to the limited space of the courtyard, or the people who were unfit for archery, the activity of using bristles instead of arrows, pots instead of targets, and throwing instead of shooting emerged, transforming "banquet archery" into "banquet pitching."

After a long period of development and evolution, Pitch-pot transitioned from an exclusive elegant entertainment for the upper class to the common people, becoming popular among the general public. The earliest literary record of Pitch-pot activity appeared in the "Zuo Zhuan". In the "Zuo Zhuan - The Twelfth Year of Duke Zhao," it was recorded: "The Marquis of Jin entertained the Marquis of Qi, and Zhongxing Muzi played pitch-pot." In the twelfth year of Duke Zhao (around 530 BC), pitch-pot activities were still entertainment at ruling class banquets. At that time, Pitch-pot could be considered as a ritual, inheriting the form and ethical ideas of archery, to some extent reflecting the ethical rules of status hierarchy.

By the Warring States period, pitch-pot gradually became popular among the common people, allowing both men and women to participate, enhancing the entertainment aspect of pitch-pot. During the reign of Emperor Wu of the Han dynasty, the imperial household official Guo was particularly skilled in Pitch-pot. He improved the rules and equipment used in pitch-pot, leading to its wider dissemination among the common people. Until the Song dynasty, Prime Minister Sima Guang opposed the excessive entertainment aspect of Pitch-pot, proposing a return to its ceremonial function, limiting the richness of Pitch-pot skills. In the Ming and Qing dynasties, although Pitch-pot games were still popular among the literati, its overall development slowed down. With the introduction of modern Western sports at the end of the Qing dynasty, pitch-pot game declined and withdrew from the historical stage.

Cultural significance

The early practice of Touhu had a complete ceremonial process. As the sport became more entertaining over time, the ceremonial aspects were reduced. However, it is undeniable that the ceremonial culture and the spirit of sports competition within it still have strong guiding significance for the revival of traditional culture today.

Touhu embodies the traditional Chinese culture of moderation and can cultivate both the body and mind. From the perspective of external human behavior, Touhu also provides guidance for people's behavior, requiring people to follow certain standards and methods in handling affairs. Those who participate in this activity all uphold a cautious and respectful attitude. The host and the guest need to demonstrate their courteous demeanor through the ceremonial three invitations and three refusals. The attendants of the host and the guest also need to complete the prescribed sections according to the shooting ceremony, and must not be arrogant, negligent, distracted, turn their backs on the game while standing, or discuss other matters on the scene, etc., to show the seriousness of this activity. From the perspective of the inner state of a person, it is necessary to accompany the game of Touhu with elegant songs, requiring participants to pay attention to rhythm and rhyme, and to act according to the sound; in this process, the upper and lower parts of the human body are in a coordinated state, embodying the combination of movement and stillness, and the pursuit of harmony between man and the outside world.

Unlike other throwing sports overseas, Touhu does not achieve competition through physical confrontation, but emphasizes rationality and moral cultivation. Touhu is a typical representative of the gentleman's competition, requiring one to strive for victory through their own efforts in the competition, while also giving enough respect to the opponent. The Analects of Confucius describes it this way: a gentleman should value self-cultivation and not easily compete with others for superiority. If one must compete with others, they can participate in the shooting ceremony or Touhu. One should strive for victory in the competition, and when they win, they should bow to the opponent to show respect, rather than being complacent. In the competition, one continuously improves their personal cultivation level, using sports as a way to urge individuals to continuously improve their cultivation. This is also consistent with the modern competitive sports concept of "friendship first, competition second".

Inheritance and promotion

In the sports and cultural ecology of contemporary China, Western sports have long occupied the mainstream position, and China's traditional sports has been marginalized. In recent years, with the rise of the national fitness wave, people have paid more attention to the content and quality of sports activities. This has created a rare opportunity for the revival of pitching pots. However, we do not need to copy the development model of ancient pitching pots, but to promote its combination with modern entertainment while retaining its own cultural value. For the general public, the fun of sports activities is ranked first, followed by its cultural value. Therefore, we can make bold innovations in pitching pots, increase its gameplay, or expand the scale of the game, so that it can be transformed from a two-person round-based game to a multi-person competition, attracting more people to participate in the sport of pitching pots.

In addition to improving and innovating pitching pots, we should also actively promote the spread of pitching pots at home and abroad. Although there are many pitching pot activities in China, most of them are personal organizations of pitch pot enthusiasts. If we want to make pitch pots a trend in society, multi-party cooperation is strongly needed. First of all, the government should play a guiding role, provide policy guarantees and economic support for pitching pots, and lay the foundation for the healthy development of this project. Secondly, we should make full use of education as an effective platform to let children get in touch with it from an early age and cultivate their interest. Finally, vigorous publicity by the media is indispensable. Through the Internet, we call on the whole society to pay attention to the development of folk sports and enhance the people's cultural confidence and cultural identity.

Conclusion

Pitch-pot, a treasure in China's excellent traditional culture, not only inherits the rituals of archery and the etiquette of self-cultivation, but also integrates the essence of Chinese civilization. Under the call of national rejuvenation in the new era, developing pitch-pot is of great significance to the revival of Chinese traditional sports culture and today's leisure sports. We have the responsibility to inherit it and promote its dissemination, so that more people can enjoy this precious humanistic practice of the ancestors of China.

Terms and Expressions

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

Questions

1. How did Pitch-pot evolve from archery rituals?
2. What cultural values does Pitch-pot embody?
3. What are the challenges and opportunities in reviving Pitch-pot?
4. Why is Pitch-pot's development significant to Chinese traditional sports culture?
5. What roles do the government, education, and media play in promoting Pitch-pot?

References

You Qianxin, Lian Menglong, Li Ning. Research on the development of ancient leisure sports pitch pot movement. Sports Science and Technology Bulletin, 2020, 28 ( 10 ): 134-135

Zhang Guoquan. ' Touhu ' and the inheritance of ancient ritual and music spirit. Lantai World, 2014, ( 04 ): 106-107.

Zhang Yong, Deng Lixing. Research on the rise and fall of the development of ancient Chinese pots. Journal of Yulin Normal University ( Natural Science Edition ), 2007, ( 05 ): 119 - 121.

Hao Jinfang.Touhu cultural historical changes and inheritance. Shandong Sport University, 2014.

Translation

投壶

投壶是古人宴会时礼节性的游戏。游戏时设特制之壶，宾主以次投矢其中，中多者为胜，负者饮。作为中国传统文化中的一项经典娱乐活动，投壶不仅是一种竞技游戏，更是一种独具文化象征意义的社交方式。它历史悠久，蕴含着丰富的哲学思想和道德教化功能，对中国礼仪文化影响深远。

起源及发展

汉代著名文学家郑玄在他所著的《礼记·投壶》中说道：“投壶是从商周时期射礼演化而来的。”射，是君子六艺的一种，由此衍生出来的射礼成为了宴会中必备的礼仪。然而，由于弓、箭数量和宴会场地的限制，或者一些嘉宾不擅长射箭，就出现了以棘代矢，以壶代靶，以投代射的投壶活动，使“宴射”变成了“宴投”。 经过漫长的发展和演变后，投壶由上层社会专属的高雅娱乐走向民间，受到广大平民百姓的喜爱。投壶活动的文献记载最早出现于《左传》。《左传·昭公十二年》载：“晋侯以齐侯宴，中行穆子相，投壶。”在昭公十二年（公元前530年）的时侯，投壶活动还是统治阶层宴会上的娱乐。当时投壶可以被称为是投壶礼仪, 是对射礼从形式到伦理思想的继承, 一定程度上体现地位尊卑的伦理法则。到了战国时期，民间开始逐渐流行投壶，男女皆可参加，增加了投壶的娱乐性。汉武帝时期，郭舍人尤其擅长投壶，他改良了投壶的规则和所用器具，使投壶在民间得到了更为广泛的传播。直到宋代，丞相司马光反对投壶的过度娱乐化，提出要回归它的礼仪功能，限制了投壶技艺的丰富性。明清时期，投壶游戏虽然还流行于士大夫之间，但它整体的发展已趋于缓慢，随着清末西方现代体育运动的传入，投壶走向衰落，退出了历史舞台。

文化意义

投壶早期具有完善的礼仪流程，在后世的发展中，随着投壶运动娱乐性的不断加强, 礼仪则相应地减少。但不可否认的是，其中的礼仪文化以及体育竞技精神对于当下传统文化的复兴仍然有较强的指导意义。 投壶体现了中国传统的中庸文化，能够修养身心。从人的外在行为方面看, 投壶也对人的行为方式做出了指引, 要求人们在事务的处理方面遵循一定的标准与方法。参与到这项活动中的人都秉持着谨慎恭敬的态度, 宾主之间需要通过礼节性的三请三辞来展现双方儒雅揖让的风度。宾主的侍从也都要根据射礼程序完成所规定的节数, 在整个活动过程中做到不可傲慢、不能懈怠、不准分散精力和心神旁顾、不准在站立时背对赛局、不能在现场对他事进行谈论等一系列要求, 以表示此项活动的郑重。从人的内心状态来看, 投壶时需要用雅歌进行伴奏，要求参与者讲求节奏与韵律,循声而发; 在这个过程中, 人的身体上下都处于协调状态,体现着动静结合,追求人与外界的和谐。 与海外的投掷游戏不同的是，投壶并非通过身体对抗来实现竞争，而更强调理性和道德修养。投壶运动是君子之争的典型代表,要求在比赛中通过自己的努力来争取胜利,同时也要给予对手足够的尊重。 《论语》中对其做出了这样的表述:君子要重视修身养性,不能与人轻易争高低,如果一定要与人相争,便可以进行射礼或投壶。在比赛中要争取胜利,而在取得优胜时要向对手作揖表示尊重,而不是意得志满。在比赛当中不断提高个人修养水平，将体育运动作为督促个人不断提升修养的途径,这也与现代竞技体育“友谊第一，比赛第二”的理念相一致。

传承和推广

当代中国的体育文化生态中，西方体育长期占据主流阵地，中国的传统体育文化被边缘化。近年来，随着全民健身浪潮的兴起，人们越来越重视体育活动的内容和质量。这为复兴投壶创造了不可多得的机会。但是，我们并不需要照搬古代投壶的发展模式，而是要在保留它自身文化价值的同时，促进它与现代休闲娱乐相结合。对于广大群众而言，体育活动的趣味性是排在首位的，其次才是它的文化价值。因此，我们可以对投壶进行大胆创新，增加它的玩法，或扩大比赛的规模，让它从双人回合制比赛变成多人对抗赛，吸引更多人参与到投壶运动中。 除了对投壶进行改良与创新外，我们也要积极推动投壶的海内外传播。虽然国内有不少投壶活动，但大多是投壶爱好者的个人组织。要想让投壶在社会范围内形成风潮，离不开多方合作。首先，政府要发挥导向作用，为投壶提供政策保障和经济支持，为这一项目的健康发展奠定基础。其次， 要充分利用教育这一有效的平台，让孩子们从小接触投壶文化，培养他们对它的兴趣。最后，媒体的大力宣传是必不可少的。通过网络呼吁全社会关注民间运动的发展，提高民众的文化自信和文化认同感。

总结

投壶，这一中华优秀传统文化中的瑰宝，不仅继承了射礼的仪节和正己修身的礼义，更融入了华夏文明的精华积淀。在新时代民族复兴的号召下，发展投壶运动对于中国传统体育文化的复兴对当今休闲体育的发展有着重要意义。我们有责任传承投壶并推广它的传播,让更多人享受到这项华夏先民的珍贵人文实践成果。

术语和表达

Pitch-pot game 投壶游戏

Ceremonial game 宴会游戏

The Book of Rites 《礼记》

Archery rituals 射礼

Warring States period 战国时期

Moderation 中庸

Self-cultivation 正己修身

问题

1. 投壶是如何从射礼演变而来的？

1. 投壶体现了什么文化价值观？

1. 恢复投壶的挑战和机遇是什么？

1. 为什么投壶的发展对中国传统体育文化具有重要意义？

1. 政府、学校和媒体在宣传方面扮演了什么角色？

Lin Ruyin |Folk Art:Piaose

Factions

Yakou Piaose,Nan Lang, Zhong Shan

Wuchuan Piaose

Fushi Piaose,Tai Shan

Hetian Gao Jing

Pan Tong |

Introduction:

Jingdezhen Porcelain refers to the porcelain produced in the city of Jingdezhen, Jiangxi Province, China. Because of its excellent quality, Jingdezhen has won the reputation of “Porcelain Capital”. The history of porcelain production there can be traced back to the Han Dynasty, with the real boom beginning in the Song Dynasty and peaking in the Ming and Qing dynasties. Jingdezhen has been supported by its porcelain industry for thousands of years. With unique cultural symbolism and influence, it is still the most influential porcelain historical and cultural city in the world.

Development History:

(1) The First Show of Force: Han to Five Dynasties

Historical records, “Xinping smelt pottery, began in the Han Dynasty”. At this time the pottery “itself coarse, the body is very thick, the glaze color is light and brown”, not sold far.

Tang Dynasty, Jingdezhen porcelain has a greater impact in the country. According to the record, “Tang Wude years, the town people Tao Yu carried porcelain into the Guanzhong, known as fake jade, and tribute to the dynasty, so Changnanzhen porcelain world famous.”

Five Dynasties, Jingdezhen porcelain production has reached a considerable scale. The main products are celadon and white porcelain, they are the earlier mature porcelain we can see now.

(2) Strong Rise: Song and Yuan Dynasties

Before the Song Dynasty, Jingdezhen produced mostly white porcelain, with little decorative patterns and paintings. Song clan moved south, a large number of literati, skilled craftsmen also moved to the south of the Yangtze River. Jingdezhen absorbed and assimilated from the other places' famous kilns of excellent workmanship. Jingdezhen porcelain technical force has been enriched, and also because of the original light, elegant, beautiful shadow blue porcelain and famous all over the world.

Yuan dynasty is the innovation period of Jingdezhen Porcelain. New varieties of blue and white porcelain in the technical maturity, opened up by the plain porcelain to colored porcelain of the new era.

(3)Stepping up to the Peak: Ming and Qing Dynasties

Jingdezhen Porcelain in the early Qing Dynasty, whether it is the official kilns or folk kilns; whether it is product modeling, decorative techniques, themes or styles, have reached a state of extreme prosperity.

(4)Porcelain Veins Pass on: Modern and Contemporary Periods

In the Republican period, “Zhushan eight friends”, with traditional painting and calligraphy into porcelain famille rose paintings, created a new Famille-rose porcelain on the ground. After the founding of new China, the establishment of the “ten porcelain factory”. porcelains industry structure changed, from the royal porcelain development to multi-discipline porcelain production. After the reform and opening up, porcelain production into a new era, innovative new colors, techniques and materials. Traditional porcelain art revitalization.

Four Characteristics of Jingdezhen Porcelain

The four characteristics of Jingdezhen Porcelain is sorted by the feelings of people observing the porcelain from afar and near.

White as jade: Jingdezhen porcelain is milky white, soft luster, warm and moist as jade. In the Tang Dynasty, it was known as “fake jade”.

Bright as a mirror: Jingdezhen porcelain glaze is smooth, crystal clear, like a brilliant mirror.

Thin as paper: Jingdezhen porcelain is light in texture and translucent in shadow. Ming dynasty Hao Shijiu creation burned the Luan Mu Cup. It is as thin as cicada's wing, one only weighs half a baht (about 1.1 grams).

Sound like a chime: Jingdezhen porcelain is crisp and clear. With a finger gently buckle, can be heard “thud” sound, like a musical instrument to play a beautiful chime sound.

Four Famous Porcelains

Jingdezhen porcelain variety, but to the Blue-white porcelain, Famille-rose porcelain, Color-glazed porcelain and Linglong porcelain the most prestigious, known as “Jingdezhen four famous porcelain”. Each of the four famous porcelains excels in its own way.

(1)Blue-white porcelain is the most representative porcelain of Jingdezhen, belonging to the underglaze colored porcelain. Primitive blue-white porcelain has been seen in the Tang and Song dynasties. Mature blue-white porcelain appeared in the Yuan Dynasty Hutian kiln in Jingdezhen. It became popular during the Yuan and Ming Dynasties and was exported worldwide, reaching its peak in the Qing Dynasty. Its thin, translucent quality and exotic motifs made it very valuable throughout Europe.

Lei Huiting |

Please start to write now.

Lu Yixuan |

Introduction

1.Introduction

Poetry, painting, and calligraphy: Known as the "Three Perfections," these genres were regarded as the ultimate expressions of Chinese literati culture during the Ming dynasty (1369-1644). Members of the Wu School, centered on the affluent city of Suzhou and nearby towns, earned admiration for their interpretations of these art forms. Painting with Words celebrates Wu School works, examining the relationships among their imagery, brushstrokes, and, especially, words.

Main Part

2.A Cultural Center

Situated on flat fertile land between Lake Tai and the Yangzi River, Suzhou (present-day Jiangsu province) is one of the oldest cities in the Yangzi delta. Before the Ming dynasty (1369-1644), when it became a leading center of literati culture, Suzhou had enjoyed a prominent political, economic, and cultural position for most of its two thousand-year history. The city was a major transportation hub on the Grand Canal, which stretched 1,100 miles between the former imperial capital Hangzhou to the south and the Ming imperial capital in Beijing far north. Besides the capital, during the fifteenth and sixteenth centuries Suzhou was the largest urban center in the Ming empire and perhaps the entire world.

Shaped like a rectangle, Suzhou was dotted with temples and spacious residences boasting elegant walled gardens. A grid of anals and paved streets, including as many as three hundred stone bridges, crisscrossed the city, which was surrounded by a moat and a towering outer wall. Beyond its water buffer, the city spilled into the surrounding suburbs but soon gave way to a prosperous countryside of small lakes and ponds, rice paddies, and agricultural fields. Rustic villages and temples were nestled in the landscape; larger satellite townships rose farther off. An area of low-forested hills stood to the west of Suzhou, overlooking the broad expanse of Lake Tai and its several nearby islands. Local poets and artists frequently ventured to such rural and suburban locations and even chose these easily accessible sites for their private retreats and retirement homes.

3.Wen Zhengming: Leader of the Wu School

An outstanding painter and calligrapher and an important trendsetter in his time, Wen Zhengming (1470-1559) was the unrivaled leader of the Wu School for much of its neyday during the first sixty years of the sixteenth century. Born to a modestly successful scholar-official family, Wen was a late bloomer in the arts; he was particularly poor at calligraphy in his youth. But he persevered, studying painting with Shen Zhou, who is often considered the Wu School's spiritual founder. Eventually, Wen mastered a wide range of painting styles and developed his own powerful, influential approach to calligraphy.

In 1527, when he returned to Suzhou after an unhappy three-year stint at the imperial court, Wen built a studio on his family's land. For the next thirty-two years, he devoted himself wholeheartedly to the life of a gentleman-scholar in retirement: reading, writing, painting, composing poetry, and socializing with likeminded friends. Wen's pivotal importance to the Wu School is magnified by the length of his extraordinary career, his wide circle of friends and acquaintances, and the artistic renown of his many students, including his two sons and a nephew and extending to several generations of Wens.

4.At Court and Beyond

During the fifteenth century, many leading gentleman artists of Suzhou spent a good part of their adult lives either serving at court in the imperial capital, Beijing, or out on provincial assignments. Often, they only returned home occasionally or after retirement. Several, such as Xia Chang (1388-1470), Xu Youzhen (1407-1472), and Wu Kuan (1435-1504), embraced these roles,distinguishing themselves in the national jinshi (advanced scholar) examinations and rising to high government offices. As artists, these men were known primarily as poets and calligraphers-except for Xia, who was also a master of the gentlemanly art of ink-bamboo painting.

The lifestyles of Liu Jue (1410-1472) and Shen Zhou (1427-1509) signaled a major alternative to serving at court. Liu only served in the capital for some eight years; Shen opted out entirely. Instead, they spent their lives in and around Suzhou, happily engaged in scholarly and artistic pursuits within their gardens and estates. Occasionally they visited friends, making communal forays into nature and to local scenic or historical sites. This lifestyle became a hallmark of Wu School gentleman artists.

Many Wu School artists were related by blood, marriage, and other formal relationships. They may have been family friends or schoolmates, taken their examinations together, studied as teacher and student, or done business as patron and client. The artists' relationships carried over into their poetry and artworks, which often were inherently personal in nature.

5.The Gentleman in Retirement

Often hailed as the spiritual founder of the Wu School, the painter, poet, and calligrapher Shen Zhou (1427-1509) came from a well-connected lineage of gentleman artists who lived in the Suzhou suburb of Xiangcheng. Both his father and uncle were landscape painters. Shen rejected the official career path followed by most of his peers in favor of a life of art and personal fulfillment. Following his example, many later Wu School artists made the same choice.

For gentleman artists in fifteenth- and sixteenth-century Suzhou, retirement consisted of socializing with other literati, refined activities such as art collecting, and a love of creature comforts such as elegant private gardens. These examples of his paintings and calligraphy reveal aspects of Shen's life in retirement: engaging with likeminded friends, observing and commentating on everyday life, and spending time alone at home or in favorite pastimes, such as wandering the hills to find inspiration for poetry or a place to play his qin.

Shen is said to have had an open, generous character. His palpable enjoyment of nature imbues each painting and poem in this section, graciously inviting us to join in. Owing to Shen's enduring influence and that of his immediate followers, these amiable qualities have come to characterize Wu School literati art.

6.In Full Flower

The Wu School rose to its artistic zenith during the first half of the sixteenth century, led by three of its brightest stars: Wen Zhengming (1470-1559), Tang Yin (1470-1524), and Qiu Ying (ca. 1494-1552). Together with the older Shen Zhou (1427-1509), this group is known as the "Four Great Artists of the Ming." Shen and Wen exemplified the Wu School ideal of the gentleman artist, while Tang and Qiu epitomized the accomplished Suzhou professional. Qiu was solely a painter; the other three developed distinct styles of painting, calligraphy, and poetry.

Although the Four Great Painters came from different social and economic backgrounds-and more than sixty-five years separated the oldest from the youngest-their lives and art intersected repeatedly. Wen and Tang had been friends since they were teenagers, and they both studied literati painting with Shen. Tang also studied under a local professional painter named Zhou Chen (ca. 1450-ca.1535), to whom he and Wen later recommended the young painting phenomenon Qiu Ying.

Such teacher-student and patron-client relationships were key to an artist's development and career in sixteenth-century Suzhou. Wen in particular had both a large number of outstanding students and a wide circle of local connections. Several of Wen's students and protégés went on to develop careers and styles of their own, among them the two brilliant calligraphers Wang Chong (1494-1533) and Chen Shun (1483-1544), both of whom died before their former master.

Despite their differences in style, approach, and social standing, professional artists and gentleman artists were codependent. Thematically, professional artists drew their material from the literature and history at he core of the literati tradition; in turn, literati artists wrote out the appropriate texts in fine calligraphy to accompany the professional artists' paintings. A primary distinction between the two groups was that the gentleman artist was also a calligrapher and a poet in his own right, and the fundamental purpose of his art was personal self-expression, usually prompted by an occasion or recent event. In some cases, one gentleman artist might have written a scroll of poetry for a friend or as a calligraphic exercise. Other times, individuals from both groups would collaborate on a scroll or contributed to a collective project.

7.The Followers

Known for decades as the Wu School's leader, Wen Zhengming (1470-1559) remained active as an artist until he died at age eighty-nine. By that time, several of his most outstanding followers had already passed away. Other artists, however, continued to work in styles heavily influenced by Wen Zhengming's approach well into the final quarter of the sixteenth century. Among these were his two talented sons, Wen Peng (1498-1573) and Wen Jia (1501-1583), who directly emulated their father and shared many of his interests and concerns. Qian Gu (1508-after 1574) also faithfully adhered to the styles that Wen Zhengming had developed and promoted.

Other gentleman artists advanced Wen Zhengming's legacy in new directions, such as Lu Zhi (1496-1576), who developed a unique, almost luminous style of landscape painting. The flourishing professional painter Xie Shichen (1487-after 1567) incorporated elements from other popular styles, but he continued to draw inspiration and material CAa from literati culture and to rely on gentleman artists for calligraphic contributions to his scrolls. Wen Zhengming's influence even extended to the generation of his great-grandson Wen Zhenmeng (1574-1636), a calligrapher. He and other local gentleman artists carried on producing collective scrolls and albums inspired by traditional themes,such as the "Eight Views of Xiao Xiang," as well as by contemporary occasions.

Still, Wen Zhengming's death deprived the Wu School of both its center of gravity and its leading light, and the vitality and prominence of Suzhou painting and calligraphy ultimately waned. By the early seventeenth century, the city's economic clout also had diminished, owing in part to the rise of nearby Shanghai and other towns in the Yangzi delta region. Competing centers of artistic production diluted and eventually eclipsed the city's premier cultural status. By the 1630s, the Wu School, though still highly influential, had given up its role as a dominant force.

Li Yanran |

Introduction

A thangka (also known as tangka, thankga, or Tibetan scroll painting) is a classical and stylized form of Nepalese and Tibetan painting. These intricate artworks typically depict Buddhist deities, scenes, or mandalas. Thangkas are traditionally painted on cotton or silk appliqué and are often used as aids for meditation or teaching. They communicate profound meanings related to Buddhist philosophy through their detailed compositions. When not on display, thangkas are kept unframed and rolled up, similar to Chinese scroll paintings.

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History and Origins

The history of Tangka painting is deeply intertwined with the spread of Buddhism in Tibet. The earliest Tangka paintings date back to the reign of King Songtsen Gampo (618-650 AD), who played a pivotal role in establishing Buddhism in Tibet. Over the centuries, Tangka painting evolved, influenced by Indian, Nepalese, and Chinese artistic traditions. The creation of Tangka paintings flourished particularly during the Tibetan Renaissance in the 11th century, a period marked by the revival of Buddhist scholarship and artistic endeavors.

During the early stages, Tangka painting primarily depicted deities and mandalas, serving as tools for teaching and meditation. The construction of the first Buddhist temples in Tibet, such as the Jokhang Temple in Lhasa, further stimulated the development of religious art, including Tangka painting. These temples became centers of artistic activity, where local artists learned from foreign masters and began to develop their distinctive styles.

The period between the 8th and 11th centuries saw significant contributions to Tangka painting from Indian and Nepalese artists. The renowned Indian Buddhist scholar and artist, Atisha (982-1054 AD), played a crucial role during this period. Invited to Tibet by King Jangchub O, Atisha brought with him a wealth of artistic and spiritual knowledge, which greatly influenced Tibetan art and Tangka painting.

The Tibetan Renaissance in the 11th century marked a pivotal moment in the history of Tangka painting. This era was characterized by a resurgence of Buddhist scholarship, the translation of Buddhist texts, and the establishment of new monastic institutions. The renaissance period saw the synthesis of various artistic traditions into a distinctly Tibetan style, marked by vibrant colors, intricate details, and profound spiritual symbolism.

During the 14th to 17th centuries, the Ming dynasty in China established close diplomatic and cultural relations with Tibet. This period saw the exchange of artistic techniques and motifs between the two regions, further enriching the Tangka painting tradition. Tibetan artists adopted Chinese landscape techniques and the use of silk, while maintaining their unique iconographic and symbolic elements.

The 17th century onward witnessed the formalization of Tangka painting schools and lineages, each with its unique style and approach. Prominent schools include the Menri (Sman-ri) school, founded by Menla Dondrub in the 15th century, known for its classical and refined style, and the Khyenri (mKhyen-ri) school, founded by Khyentse Chenmo in the 15th century, recognized for its bold and expressive style.

The preservation and continuity of Tangka painting faced challenges in the 20th century due to political changes and cultural upheavals. However, efforts by Tibetan communities in exile and international interest in Tibetan culture have helped sustain and revive this ancient art form. Today, Tangka painting continues to thrive as both a spiritual practice and an art form, preserving the rich heritage of Tibetan Buddhism.

Symbolism and Themes

Tangka paintings are rich in symbolism and often depict deities, mandalas, historical events, and teachings of Buddhism. Each element in a Tangka painting carries specific meanings and serves as a visual aid for meditation and contemplation.

Deities and Bodhisattvas

Tangka paintings frequently portray Buddhas, Bodhisattvas, and protective deities. These figures are depicted with specific hand gestures (mudras), postures (asanas), and attributes that symbolize various aspects of Buddhist teachings. For example, Avalokiteshvara, the Bodhisattva of Compassion, is often shown with multiple arms, each holding different objects representing his compassionate activities.

Mandalas

Mandalas are intricate geometric designs that represent the universe and serve as tools for meditation. They are often used in Tangka paintings to depict sacred spaces and cosmological concepts. The central figure in a mandala is usually a deity, surrounded by concentric circles and squares filled with symbolic elements.

Historical and Mythological Scenes

Tangka paintings also narrate stories from the life of the Buddha, the exploits of various saints and yogis, and mythological tales. These narrative paintings serve an educational purpose, conveying moral and spiritual lessons.

Symbols and Iconography

Common symbols in Tangka paintings include the lotus flower (purity), the vajra (indestructibility), and the wheel of Dharma (teachings of the Buddha). Each symbol is meticulously placed to enhance the painting’s spiritual message.

Cultural and Religious Significance

Tangka paintings are not merely decorative objects; they hold deep religious and cultural significance. In Tibetan Buddhism, Tangka paintings are used as aids for visualization during meditation. Practitioners focus on the image of a deity, internalizing its qualities and receiving blessings. The detailed iconography serves as a guide for spiritual practice and contemplation.

Moreover, Tangka paintings are used in religious ceremonies and rituals. They are often displayed in monasteries, temples, and private homes, where they serve as objects of veneration. During festivals, such as the Tibetan New Year (Losar), large Tangka paintings are unfurled on hillsides, allowing devotees to receive blessings from the sacred images.

Tangka paintings also play a crucial role in preserving and transmitting Tibetan culture and religious teachings. Each painting is a repository of iconographic and symbolic knowledge, passed down through generations of artists and practitioners. The continuity of this artistic tradition reflects the resilience and adaptability of Tibetan culture in the face of historical challenges.

Duan Siya |Striking iron flower

Introduction

Iron flowers , also known as iron trees , are traditional folk fireworks popular in the Henan and Shanxi regions and are one of China's national intangible cultural heritages .Striking iron flower,a traditional firework that has been passed down in the Yu-Jin region, began in the Northern Song Dynasty, flourished in the Ming and Qing Dynasties. It is mostly popular in the middle and lower reaches of the Yellow River, with Henan and Shanxi being the most. In the 1000-year-old folk art of "Striking Iron Flowers" (打铁花), molten iron is struck with wooden rods to create sparks cascading through the sky like blossoming flowers.

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The "Iron Flower Striking" originated from the ritual activities of the craftsmen. In the Ming Dynasty, the iron-making industry flourished. With the aim to celebrate the harvest and pray for peace, the blacksmiths created a bright sparkling effect by striking the iron in the production. During the Ming and Qing Dynasties, with the support from government and all walks of life, the Queshan Iron Flower reached its peak. It expanded from the original Taoist rituals such as the birthdays of the Jade Emperor and the Queen Mother to general festivities, such as wishing for a new life, getting promoted and getting married.

In the process of local circulation, Queshan Iron Flower has absorbed various artistic elements such as firecrackers, dragon lanterns and brass instruments. It has gradually formed a unique performance style of grandeur, magnificence and auspiciousness.

In June 2008, the iron flower art submitted by Queshan County, Henan Province was approved by the State Council to be included in the second batch of national intangible cultural heritage list .

Before striking the flowers, they all kneel inside the shrine to ask the gods for safety and to avoid burns. A six-meter-high double-layer flower shed is set up in an open space. The shed is densely covered with fresh willow branches and tied with fireworks, firecrackers and goods, known as the "trellis", A six-meter-high old pole is erected in the middle of the shed, making the total height of the flower shed reach more than ten meters. 

A furnace is set up next to it to melt iron liquid. More than ten performers take turns to use flower sticks to hit the iron liquid with a temperature of more than a thousand degrees onto the shed, forming iron flowers more than ten meters high. The iron flowers then ignite fireworks and firecrackers, and are accompanied by the "dragon through the flowers" performance.

The flower stick used by the iron flower maker is a fresh willow stick that is as thick as a fist and more than a foot long. There is a circular pit with a diameter of 3 cm at the top of the stick to hold the iron liquid. When making iron flowers, the flower beater wears an inverted gourd ladle on his head (for protection), is topless, holds an upper stick filled with iron juice in one hand, and a lower stick without iron juice in the other hand, and quickly runs to the bottom of the flower shed, using the lower stick to hit the upper stick. A dozen flower beaters take turns, one after another, moving back and forth between the furnace and the flower shed. One stick of iron flowers soars into the sky, and another stick follows, one after another ...The scene is spectacular, presenting the characteristics of thrilling, exciting, festive and lively.

With temperatures of molten iron soaring to 1600°C, artisans bear countless scars across their bodies. In order to minimize injuries to the smiths, the ironwork is mostly performed in winter, when the weather is cold and the scattered ironwork can cool down more quickly, thus better guaranteeing the safety of the smiths. In the process of beating iron flowers, smiths will wear some specific protective clothing. Traditionally, there are mainly Taiji pattern helmet, Taoist style cotton protective cap with shawl, protective shoes, red or yellow cotton belt, etc. The protective shoes include legs, knee pads, foot pads, all three must be a one-piece type, so as to achieve the best protective effect.

Some smiths choose to go bare-chested to increase the shock of the scene.

Behind the brilliance, the risks are not known to all. The molten iron needs to be heated to more than 1600 degrees Celsius. Therefore, performers need to be very careful in the strength and angle . In that case, the iron splashes are high enough and well dispersed to make brilliant iron flowers. Insufficient force or an inaccurate strike position may result in burns to oneself.

Conclusion

The technique of striking iron flowers has a long history, and the performance is magnificent and grandiose. The splendor of modern fireworks and the mystery of traditional art are integrated, which is breathtaking. It embraces Taoist culture, trade customs, folk crafts, which not only enriches the folk art treasury of China, but also plays an important role in enhancing national pride and strengthening national cohesion.