20201215 cultexam

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

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

Alsied, Saffana

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

Cao Runxin 曹润鑫

Spring Festival Couplets

Chen Han 陈涵

Chinese traditional musical instrument

Gu Zheng --Chen Han (talk) 08:26, 2 November 2020 (UTC)

Chen Jingjing 陈静静

A. Facial makeup

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

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

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

B. Terms and Expressions

painted face 花脸

clown 丑角

legend，romance 传奇剧

Tathagata 如来佛

Sakyamuni 释迦牟尼

Dashkin, Gennadii

Four Worldwide Famous Chinese Novelists of Modern Science Fiction and Fantasy

1.Liu Cixin（刘慈欣）

2.Chen Qiufan( 陈楸帆 ）

3.Rebecca F.Kuang( 匡蘦秀）

4.Li Jun(李俊）or Baoshu(宝树）

Ding Daifeng 丁代凤

Lion dance

Gan Fengyu 甘奉玉

A. The Eight Tang-Song Prose Masters

The Eight Tang-Song Prose Masters are Han Yu, Liu Zongyuan in Tang Dynasty and Ouyang Xiu, Su Xun, Su Shi, Su Zhe, Wang Anshi, Zeng Gong in Song Dynasty. This title was first appeared in the Banknotes of Eight Masters of Tang and Song Dynasties.

Among them, Han Yu and Liu Zongyuan are the leaders of the ancient prose movement in the Tang Dynasty, while Ouyang Xiu and Three Su(Su Xun, Su shi, Su Zhe) are the core figures of the ancient prose movement in the Song Dynasty, and Wang Anshi and Zeng Gong are the representative figures of Linchuan Literature. Han Yu and Liu Zongyuan are the advacators of the "Ancient Prose Movement". Su Shi, Su Xun and Su Zhe are called Three Su. What else, Su Xun is the their father and Su Shi is the older brother. While Su Shi's teacher is Ouyang Xiu, who is also the teacher of Wang Anshi and Zeng Gong.

In a word, they both advocated prose and opposd parallel prose, which has exerted profound influence on the literary world at that time and later generations. Their sucessive waves of innovation of ancient ancient prose has changed the obsolete appearence of poetry and prose.

1. Han Yu

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

2. Liu Zongyuan 3. Ouyang Xiu 4. Su Xun 5. Su Shi 6. Su Zhe 7. Wang Anshi 8. Zeng Gong

B. Terms and Expressions

The Eight Tang-Song Prose Masters 唐宋八大家

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

Ancient Prose Movement 古文运动

parallel prose 骈文

Gao Mingzhu 高明珠

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

Grosheva, Anna

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

1. Huli-jing (狐狸精) in China

2. Kitsune (キツネ) in Japan

3. Kumiho (구미호) in Korea

Gu Dongfang 顾东方

Chinese Characters

Guan Qinqing 管钦清

Four Chinese Folk Love Stories

1.Meng Jiangnü Cries the Great Wall

2.The Legend of White Snake

3.The Butterfly Lovers

4.The Cowherd and the Girl Weaver

Vocabulary list

Questions

Guirou, Barthelemy

Chinese Mythology

A. Pan Gu Created the Universe

B. Nü Wa Created Human Beings

C. Fushi Taught the People

D. Yu Rebuilt the Earth

Gui Yizhi 桂一枝

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

Guo Lu 郭露

Classical Prose Movement of late Tang dynasty and Song dynasty

Definition

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

Development

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

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

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

Representatives

1.Han Yu

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

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

2.Liu Zongyuan

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

3.Ouyang Xiu

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

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

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

Masterworks

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

Influence

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

Ha, Thi Thu Hang

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

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

He Changqi 何长琦

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

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

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

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

Vocabulary List

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

Questions

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

Jiang Fengyi 蒋凤仪

Chinese Paper Cutting 剪纸

Text

Terms and Expressions

Questions

Kang Haoyu 康浩宇

Chinese Red Culture

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

1. Development

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

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

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

2. Symbols

3. Values

4. Red Culture in Nanchang

Lei Kuangxi 雷旷溪

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

Li Lili 李丽丽

Shadow Puppets(皮影戏)

Li Liqin 李丽琴

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

Liu Liu 刘柳

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

Liu Ou 刘欧

相声 Cross Talk 1. The History of Cross Talk

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

2. Famous Artists of Cross Talk

Liu Yi 刘艺

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

Liu Yiyu 刘怡瑜

The four most handsome men in ancient China

Lou Cancan 娄灿灿

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

Luo Weijia 罗维嘉

Ancient Chinese Education

1. The History of Ancient Education

2.Classification of Ancient Chinese Education

3.Civil Service Examination System

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

Luo Yuqing 罗雨晴

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

Mo Ling 莫玲

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

A.Procedures

B.Development

Ngo, Thi Minh Huong

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

Ouyang Ling 欧阳玲

Twelve Animals of the Chinese Zodiac --Ouyang Ling

A.Origin

B.Development

C.Influence

Peng Ruihong 彭锐宏

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

Diagram.

Phyo, Su Kyi

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

Pingki, Tanchangya

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

Phyo, Su Kyi

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

Vocabulary Questions

Qu Miao 瞿淼

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

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

International Education Exchanges and cooperation

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

Seydou, Sagara

My topic: The Chinese language.

1 Putonghua and Dialects

2 Ancient Chinese and Mordern Chinese

3 Idiomatic phrase -Idioms common sayings,and allegorical sayings

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

Shi Haiyao 石海瑶

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

A.Cai Wenji 蔡文姬

B.Zhuo Wenjun 卓文君

C.Li Qingzhao 李清照

D.Ban Zhao 班昭

---

Si Yu 司妤

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

1.Ancient Cities

2.Ancient Towns

3.Pingyao ancient city

Tan Yuanyuan 谭媛媛

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

1.Mount Song

2.Mount Tai

3.Mount Hua

4.Mount Heng

5.Mount Heng

Tang Bei 汤蓓

Ancient Education

1.History

2.Confucian Educational Theory

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

Tang Yiran 汤伊然

Chinese Dining Etiquette

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

1. Arrival

2. Seating Arrangements for a Chinese Banquet

3. Eating

4. Table Manners

5. Rules and Conventions Relating to Chopsticks

Arrival

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

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

Seating Arrangements for a Chinese Banquet

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

1. the imperial court

2. local authorities

3. trade associations and

4. farmers and workers

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

1. master of the banquet and 2. guests.

Seat of Honor

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

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

Round Table

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

Square Table

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

In Grand Banquet

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

Eating

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

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

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

Chinese Table Manners

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

Consider Others

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

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

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

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

"Thank you" Gesture

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

Elegance

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

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

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

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

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

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

Rules and Conventions Relating to Chopsticks

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

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

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

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

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

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

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

Wang Meiling 王美玲

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

1.Midea

2.Gree

3.Haier

Wu Qiong 吴琼

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

1. High-speed rail

2. Scanning code payment

3. Sharing bikes

4. Online shopping

Wu Yilu 吴一露

Four Domestic Mobile Phones

1. Huawei

2. Mi

3. Vivo

4. OPPO

--Wu Yilu (talk) 15:26, 18 November 2020 (UTC)

Wu Zijia 吴子佳

Chinese Dialects方言

1.Cantonese

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

Xiao Ting 肖婷

Su Shi (January 8, 1037 –August 24, 1101), also known as Su Tungpo, was a Chinese writer, poet, painter, calligrapher, pharmacologist, gastronome, and a statesman of the Song dynasty. A B C D

Xu Jia 徐佳

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

Xu Jing 许静

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

Yang Chenting 杨晨婷

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

Yang Hairong 杨海容

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

Yang Hui 阳慧

The Five Constant Virtues A Benevolence

B Righteousness

C Propriety

D Wisdom

F Fidelity

Yang Yue 杨悦

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

Yang Ziling 杨子泠

Stinky Tofu

Yi Zichu 义子楚

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

You Yuting 游雨婷

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

1.Representative figures

2.Values

3.Works

References

Vocabulary List

Questions

Yu Ni 余妮

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

Yuan Tianyi 袁天翼

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

Zeng Liang 曾良

Qingming Riverside Landscape Garden

Zeng Xinyuan 曾心媛

Batik History

Types

Technical Process

Materials

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

Zhang Hui 张慧

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

Zhang Ling 张玲

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

Zhang Peiwen 张佩闻

bonsai 盆景

Zhang Weihong 张维虹

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

Zhang Yinliu 张银柳

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

Zhang Yu 张瑜

A.The Four Great Inventions

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

1. Papermaking

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

2. Compass

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

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

3. Gunpowder

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

4. Printing

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

References

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

Vocabulary List

• The Four Great Inventions 四大发明

Questions

• When was paper invented? (8 BCE)

Zhang Yujie 张毓婕

Strange Stories from a Chinese Studio

Zhao Xi 赵茜

Four Treasures of the Study 文房四宝

Zhao Xiaoyan 赵晓燕

Chinese Fairy Tales

Zhou Yiwen 周艺文

Questions

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

Zhou Yuanqu 周园曲

Chinese screen（中式屏风）

Zhu Meimei 祝美梅

Ancient Chinese Doors and Windows

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

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

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

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

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

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

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

Zhu Xu 朱旭

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

Zou Xinyu 邹鑫雨

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

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

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

3.The Paper Currency in Qing Dynasty

4.The Paper Currency in the Chinese Soviet Area Period

5.Renminbi

References

Vocabulary List

Questions

Zubareva, Ekaterina

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

I.Base make up

II.Color make up

III.Tang dynasty make up

References

Vocabulary List

Questions