20210601 culture5

Final Exam Paper Page. Please write now here and improve until grading on 2021 06 15

• Link to return to Course Homepage.
• Link to the other Final Exam paper pages: Final Exams 1 Bào Qìnwén 鲍沁雯 - Dù Xīnyǔ 杜心语; Final Exams 2 Guō Yàbō 郭亚波 - Huáng Zǐlóng 黄梓龙; Final Exams 3 Lǐ Yìhào 李艺浩 - Sū Xiāo 苏潇; Final Exams 4 Tāng Huì 汤惠 - Wáng Qìnyú 王沁瑜; Final Exams 5 Wáng Zǐhán 王子涵 - Zhào Kē 赵轲.

1. Every student should write a new English text on a phenomenon in Chinese culture as a new chapter in the text book. Please also make a comparisons to similar or different cultural phenomenons in Europe and/or the USA.

2. Please find a paper you want to proof read, contact the author, proof read (by copying each paragraph and make corrections/suggestions in the copy) and sign until May 25. The author then finalizes (works in the suggestions) until the final deadline June 1! Please proof read a fellow students' paper by copying each paragraph and make your corrections in the paragraph. In a final step, the original author of the paper has to decide, what of the corrections he/she will accept and work into the paper. The final version submitted on the deadline should not carry any of the fellow student's paragraphs and comments.

• You can use the texts in the coursebook as an example (like Unit 1, Text A). You only need to write Text A (like "Longevity Noodles") or Text B ("Mooncakes"), not a whole Unit. But please try to find fellow students who topics fit under the same Unit title ("Festival Meals") and arrange it accordingly.
• In the topic, please write the category, then the topic - your name and student no.
• For the text, please indicate ALL SOURCES with bibliographical references. That means: At least for every paragraph, sometimes for single sentences, you have to indicate at the end, where you have found this information. E.g. (Liu Miqing 2010, 17). This means you have found it in the book or paper written by Ms Liu on page 17.
• Add a section at the end called "References". There you write the full version of the reference: Liu Miqing 刘宓庆. (2010). 翻译基础 [Translation Basis]. Shanghai: East China Normal University 华东师范大学. Similarly, you do it for papers: Jin Wenlu`靳文璐. (2019). 机器翻译可以取代人工翻译吗? [Can machine translation replace human translation?]. 智库时代 Think Tank Times (40) 282-284.
• Please also add a list "Terms and Expressions".
• Please add a "Questions" section.
• Please add a "Answers" section.

This is the the first page with the final exam papers.

Please write another chapter of the textbook on any cultural phenomenon in China.

=Wáng Zǐhán 王子涵= Tai Chi(taijiquan)

=Wang Zihan 王子涵= Tai Chi（Taijiquan）

Wang Zihan王子涵 Tai Chi（Taijiquan）

Introduction

1.1 Definition of Tai Chi

1.2 Types of Tai Chi

1.3 Health benefits of Tai Chi

Wǔ Sīyí 伍斯仪 Shu Embroidery (Sichuan Embroidery)

ok

Introduction

"Shu" was a beautiful and rich land in Chinese ancient times. In the book Origin of Chinese Characters(Shuo Wen Jie Zi), it explained that the character "Shu" looked like a silkworm crawling on a wide leaf. And in 12 types of oracle bone inscriptions, the character "Shu" also had the image of silkworm, which obviously expressed the relationship between "Shu" and silkworm. What's more, there were many legends that showed that Shu was the birthplace of silkworms and the kingdom of silk. For thousands of years, the silk civilization of ancient Shu bred advanced silk weaving technology, which not only provided raw materials——silk and silk threads for Shu Embroidery, which laid a solid foundation for the development of Shu embroidery; but also created an industrial and cultural environment for the development and prosperity of Shu embroidery.

History and Development

Shu embroidery, also called "Sichuan embroidery", mainly refers to embroidery in Chengdu-centered Sichuan Plain. Due to cultural and geographical factors, it also developed to the surrounding areas such as Chongqing. Shu embroidery and Xiang embroidery in Hunan, Yue embroidery in Guangdong, Su embroidery in Suzhou are called "Chinese four famous embroidery".

Shu embroidery was originated in the early Shang Dynasty. In the Spring and Autumn Warring States Period, the most developed textile industry was in Qilu area. With Qin gradually decreasing the six countries, the center of textile biased towards the ancient Shu. Besides, people's demand for diversity in clothing had made embroidery and brocade develop side by side, and produced the unique "brocade stitch" of Shu embroidery. In the Three Kingdoms Period, the nobles rushed to buy the splendid fabrics of Shu, so Shu embroidery became a symbol of wealth and status. At that time, Shu Embroidery was even used to exchange for carriages and horses to prepare for war. With the trade on the Silk Road, the demand for silk fabrics surged. In Sui and Tang Dynasties, Shu Embroidery developed rapidly and reached its peak, its weaving and embroidering patterns were also greatly enriched. Among them, the pattern invented by Dou Shilun was widely adopted and popular.

The hedonics of the emperors of the Song Dynasty greatly stimulated the demand for embroidery and promoted its development. And affected by Central Plains Embroidery School, people tended to pay more attention to the decoration and artistry of Shu embroidery rather than its practicality. Therefore, a large number of Shu embroidery were created on the basis of calligraphy and paintings of celebrities in the Song Dynasty. In the Ming Dynasty, in order to restore economy, Zhu Yuanzhang took effective measures to develop industry and commerce. Thanks to this, traditional textile technology had developed by leaps and bounds. Especially cross-stitch work and drawnwork were appreciated by civilians for their durability. In the Qing Dynasty, the industry of Shu embroidery gradually developed from home handmade to market-oriented management. In the late Qing, Shu embroidery formed a production and sales distribution center in Chengdu. With the improvement of the quality and quantity of Shu embroidery, a large number of works were spread overseas, which greatly enhanced the popularity of Shu embroidery in the world. Although various wars in modern times had a huge impact on Shu embroidery, and its skills had once been on the verge of extinction, after the foundation of new China, Chinese government attached great importance to the revival of Shu embroidery. Construction of a large number of technical centers and cultural bases helped to maintain the cultural treasure for generations.

Nowadays,the young generation have also contributed to the development and inheritance of Shu embroidery. What's more, extensive international exchanges and cultural dissemination let Shu embroidery shine home and abroad, making it possible for it to return to glory and prosperity.

References

1.古蜀丝绸文明 赵敏编,中国蜀绣,四川科学技术出版社,2011.05

Wú Xīnxīn 吴欣欣 Wuqinxi (Frolics of the Five Animals)

I suggest to change my topic to Wuqinxi.ok

Yāo Yáng 么阳

Chinese traditional cultivation culture ok

Yì Míngxiá 易明霞 Ancient literature: The Classic of Mountains and Seas

1.Overview

The Ancient Chinese literature Shan Hai Jing, also known as The Classic of Mountains and Seas and The Classic of Great Wilderness, which was written by various authors in a single time, is a Chinese classic text and a compilation of mythic geography and beasts. It is largely a fabulous geographical and cultural account of pre-Qin China as well as a collection of Chinese mythology. The book is divided into eighteen sections; it describes over 550 mountains and 300 channels.

As for the content, it is not a narrative, as the “plot” involves detailed descriptions of locations in the cardinal directions of the Mountains, Regions Beyond Seas, Regions Within Seas, and Wilderness. The descriptions are usually of medicines, animals, and geological features. Many descriptions are very mundane, and an equal number are fanciful or strange. Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands. Different races, deities, plants, and minerals unique to their own region are described, and the text gives interesting information about each, including the histories and activities of many demonic or deific characters. This eclectic Classic also contains crucial information on early medicine (with cures for impotence and infertility), omens to avert catastrophe, and rites of sacrifice, and familiar and unidentified plants and animals. It offers a guided tour of the known world in antiquity, moving outwards from the famous mountains of central China to the lands “beyond the seas.” (Michael 2001:679), (Srisinthon 2018: 104), (Sun Yuzhen 2003: 109，110)

2.Authorship

The exact author(s) of the book and the time it was written were controversial. It was originally thought that mythical figures such as Yu the Great or Bo Yi wrote the book. The consensus among modern Sinologists is that the book was not written at a single time by a single author, but rather by numerous people from the period of the Warring States to the beginning of the Han dynasty. Then, based on Yang Xinghui and Luo Dahe’s latest study, the book was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father. Thus, it was passed on to the future generations. (Yang Xinghui / Luo Dahe 2016: 66,73)

3.The Mythical Creatures Within the Book

The mythical creatures portrayed in the book have a romantic quality. They are a combination of ancient ancestors’ awe and admiration for morality, power, life and nature, and the result of ancient ancestors’ wisdom. Although these creatures are different from each other, they have certain features in common. Firstly, they all embody ancient ancestors’ original concept of life. Secondly, they usually have the qualities of a spiritual leader. Lastly, instead of being average people, these mythical creatures are all transcendent deities. (Xue Zhengying 2016: 174,180) The mythical creatures in the book can be classified into four kinds: the orcs, the aliens, the rare and exotic animals, the elves in plants. Some of them are popular and well know in Asian culture, such as Nine-tailed Fox, Phoenix, Nüwa, Houyi. These images are ancient people’s contemplation towards the origin of life and their exploration of nature. This surrealism has a profound impact on the traditional Chinese culture. Some of the images express Chinese ancestors’ pursuit of peace. Later, this pursuit of peace has also become a permanent pursuit in China. (Xiang Wei 2021: 25-26)

Here are some images and brief introductions to the mythical creatures within the book.

A nine-tailed white fox. As the legend goes, it was the matchmaker of China’s greatest hydraulic engineer The Great Yu and his wife Tushan Shi.

Fish Man, a mermaid, specialized in weaving waterproof silk fabric. According to the Book of Supernatural Beings, Fish Men/Women look like humans but with a fishtail. When they weep, their tears would turn into pearls; and their body oil can keep a lamp burning for a thousand years.

A beast with a dragon head and horse body known as the deity of Mt. Zhongshan.

A five-tail creature called Zheng, specialized in preying on man-eating beasts like tigers and leopards.

A Chinese unicorn called Quanshu.

A monkey-like creature known as Jufu, specialized in long-range stone hurling which terrified other beasts.

4.Changes in the Status

The earliest reference to the Classic of Mountains and Seas in history was made by Sima Qian, who expressed strong doubts about its credibility, which had a great impact on the status of the Classic of Mountains and Seas in the traditional Chinese civilization. Hence, since Liu Xiu of the Han dynasty complied the table of the Classic of Mountains and Seas and Guo Pu of the Jin dynasty made the first note about the Classic, scarcely had there been someone to study the book. Then, in the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of the Classic. Since then, instead of being criticized by historians, it has become the cornerstone in contemporary study of “Chinese mythology”. (Chen Shuai 2013: 209)

5.Influences on Chinese Literature

The Classic of Mountains and Seas represents the earliest systematic repository of the myths and deities from ancient and early China, and this work has served as the primary inspiration for later Chinese mythology. The systematic presentation of these myths differs in nature from other textual collections of ancient and early myths identified with other parts of the world, which are structured by some forms of narrative continuity. The Classic is bereft of narrative continuity, and its material is structured in accordance with a mythic geography, in which different mythic elements, themes, and characters are located in terms of place and direction. It has no plot, but the mythological creatures and stories in the book lead to diversified imagination. The mythological creatures in the book have been extensively quoted in Chinese literature. In terms of narrative methods, the Classic is simple and concise in its descriptions but rich in imagination, which profoundly influences the narrative style and technique of the early Chinese novels.(Xiang Wei 2021: 25-26)

References

[1]Xiang Wei项薇. (2021). 浅析《山海经》神话形象对后世小说文学的影响[An analysis of the influence of the mythological images in the Classic of Mountains and Seas on the later literature ]. 文学研究Literary Studies(12),25-26. doi:CNKI:SUN:JGWC.0.2021-12-011.

[2]Srisinthon, P.(2018).《山海经》中山的概念[The Concept of Mountains in “The Classic of Mountains and Seas”]. 瓦莱拉克社会科学杂志Walailak Journal of Social Science. 11, 1 (Jun. 2018), 101-129.

[3]Xue Zhengying薛正英.(2016). 论《山海经》神话英雄形象及文化精神[An analysis on the images and cultural spirit of the mythical heroes in the Classic of Mountains and Seas]. 现代交际Modern Communication(03),174-177+180. doi:CNKI:SUN:XKJJ.0.2016-03-068.

[4]Yang Xinhui & Luo Dahe杨兴慧 & 罗大和.(2016).《山海经》之作者析考[An analysis of the authors of the Classic of Mountains and Seas]. 西南民族大学学报(人文社科版)Journal of Southwest Minzu University(Humanities and Social Sciences Edition)(10),66-73. doi:CNKI:SUN:XNZS.0.2016-10-011.

[5]Chen Shuai陈帅. (2013).《山海经》神话研究综述[A review of mythological studies of the Classic of Mountains and Seas]. 学理论Academic Theory(11),209-211. doi:CNKI:SUN:LBYT.0.2013-11-098.

[6]Sun Yuzheng孙玉珍.《山海经》研究综述[A review of the Classic of Mountains and Seas][J].山东理工大学学报(社会科学版)Journal of Shandong University of Technology(Social Science Edition),2003(01):109-112.

[7]Michael 麦克, T. (2001). 宗教学报[The Journal of Religion]. Chicago: The University of Chicago Press芝加哥大学出版社, 81(4), 678-680. http://www.jstor.org/stable/1206093

Terms and Expressions

The Classic of Mountains and Seas, The Classic of Great Wilderness 《山海经》

Mountains 《山经》

Regions Beyond Seas 《海外经》

Regions Within Seas 《海内经》

Wilderness 《大荒经》

Yu the Great 大禹

Bo Yi 伯益

modern Sinologist现代汉学家

nine-tailed white fox 九尾白狐

Tushan Shi 涂山氏

Fish Man 鲛人

mermaid 美人鱼

waterproof silk fabric鲛纱

Supernatural Beings 《搜神记》

Mt. Zhongshan 中山神

Zheng 狰

Quanshu 䑏疏

Jufu 举父

Questions

1.How many sections is the classic divided into?

2.What does the book describe?

3.How is the book arranged?

4.How was this book created?

5.What makes a great difference on the change of the status of this book?

Answers

1. 18sections

2.It describes over 550 mountains and 300 channels.

3.Each chapter follows roughly the same formula, and the whole book is repetitious in this way. Then, the different chapters of The Classic progress much like a travel record, in which each section concentrates on specific region, starting from the central lands (China) and working its way outward in each direction to the outlying lands located beyond the four seas surrounding the central lands.

4. It was initially dedicated by Bo Yi and transmitted orally by his descendants. Then, it was edited by Zhao Gao-lang or Heng the Father and presented to the emperor of the Zhou Dynasty by Zao the Father.

5. In the early twentieth century, the concept of “mythology” from the West and modern academic theories and methods such as anthropology and mythology were introduced to China. These brought a fundamental change in the status of the Classic.

Yuán Jìng 袁静 Kingfisher Craft点翠

Dear professor, I suggest to change my topic into Kingfisher Craft.

Zhào Kē 赵轲 Traditional Chinese Funeral Culture

A. Origin and Development

Excavation at Beijing Zhoukoudian Cavemen Sites (http://www.yxhenan.com/info/news/waisheng_1789_16738.html)

Chinese Funeral (https://m.sohu.com/a/239501313_476716)

It is generally believed that the idea of immortality of the soul came into being before the middle Paleolithic Age, which is the essential basis of funeral rites. The earliest funeral rites in China originated in the late Paleolithic Age. Unearthed in 1933 Beijing Zhoukoudian Cavemen Sites found a burial chamber under the ruins, which pointed out that eighteen thousand years ago paleolithic cavemen followed funeral procedures, in which the bones of death bodies were surrounded with hematite powders, animal teeth used as tools, and flint stone and so on (Chen/Fan 2013:1).

After entering the feudal society, Chinese funeral rites developed to be complicated, institutionalized and hierarchical, and finally became a set of mature funeral systems. In the Zhou Dynasty, China's funeral rites had already been complete. The Rites of Zhou, The Book of Rites and other books made detailed stipulations on funeral rites. At this stage, the funeral rites were mainly influenced by the patriarchy and the Confucian concept of filial piety (Chen/Fan 2013:2).

This situation continued until the founding of New China. After this, the funeral culture gradually simplified. The reasons are complex. To name a few, that referred to three aspects especially: First, the original feudal class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified (Chen/Fan 2013:2).

B. Traditional Process

In traditional Chinese funerals, one can leave at ease only after a complete funeral process, which includes several steps (Chen, etc. 2008:43).

Baosang (announce sb.'s death) (https://m.sohu.com/a/332995941_100186178/)

(1) A public announcement of the death with weeping and other sad expressions.

This is also called Baosang in Chinese, which is especially done by the female relatives, who announce the death to their neighbors with a loud voice and a predetermined form of crying. Sometimes this is not their voluntary action, but may be required by the will of the death. The official announcement of the death also includes hanging white curtains or lanterns outside the home. In some areas, this is optional, but crying is a necessary act (Hua, 2003:10).

(2) Changing clothes.

Sangfu (mourning apparel) (https://kuaibao.qq.com/s/20191227A0IHSQ00?refer=spider)

Relatives of the dead wear white clothes, shoes and headscarves. Different relatives have different styles of clothing (different colors, etc.), which indicates the relationship between the deceased and the wearers. Of course, there are differences in color symbols and costume combinations, but white is a very clear symbol of mourning clothing, which is a basic feature of Chinese funeral ceremonies (Hua, 2003:10).

(3) Bathing the dead.

After the bath, the final dressing of the deceased is also performed, which is considered to be an important part of the final death (Shouzhongzhengqin\Die in one’s bed). The water used is also particular, often being "water obtained by praying to the gods" (actually bought back with a symbolic amount of money), called “Maishui” (Watson, 1982:1-2).

Shaozhi (burning paper) (http://nimg.ws.126.net/ url=http%3A%2F%2Fdingyue.ws.126.net%2F2021%2F0508%2Fd6442441j00qsr6ot000vc000go008tc.jpg&thumbnail=650x2147483647&quality=80&type=jpg)

(4) Delivering food, money, etc. to the world of the dead.

By burning paper objects (houses, furniture, etc.), people bring essential goods to the dead. Food, usually pork, rice, etc., is served in the form of offering (Hua, 2003:11).

(5) Setting the tablet.

It is generally believed that dead people need a written tablet to settle their souls. These tablets are often placed in ancestral temples. Some unmarried women are not considered family members, so their tablets are usually placed in temples (Hua, 2003:11)

(6) Ritual use of money and hiring of professional staff.

Those personnel are employed to perform ceremonial performances that are not possible for the general public to perform due to the complexity of these performances. Money exchange permeates funeral rites in China in different forms (Hua, 2003:12).

(7) With music to accompany the dead, soothe the soul.

The sharp sound of flutes and suona horns (or trumpets), gongs and drums plays an important role, especially when the dead body needs to be moved (Hua, 2003:12).

(8) Going into the coffin.

This is an important feature of traditional Chinese funeral ceremonies, and wooden coffins have been common in China since the Neolithic Age. Ritual hammering of nails is central to the process, often carried out by the head of the deceased's surviving family (Wang, 2019:2; Hua, 2003:12-13).

(9) Buried.

After the coffin is sealed, it can be sent away for burial. It is not an act to be done right away. Well-established families sometimes keep coffins in their homes as a sign of respect for the deceased. But eventually the coffins have to be buried (Hua, 2003:13).

There are all kinds of traditional rites for funeral in China, which means that different nations and people living in different areas may have various funeral rites. But after all, the nine points mentioned above may be the most important part in the process of Chinese funeral (Meng, 2020:4-5; Zhao, 2020:2-4; Ding/Zhao, 1989:505).

C. Some Main Forms

1.Burial in Earth

Land was an extremely important condition for people's survival, production and life, as well as the growth of all things, so it was easy to form the worship of land. In the past, people believed that acts such as farming offended the god, so they would sacrifice themselves in blood to beg for forgiveness. Namely, it was burying dead bodies into earth. Under the influence of this thought, the Chinese people gradually formed the idea of "being buried to rest", and the burial in earth became the most common burial style of the Han people (Jin 1996:2).

2. Cremation

Cremation referred to the phenomenon of burning dead bodies to bones, and then burying those bones in tombs in the past. Some burned the dead outside the tomb and then buried the bones or ashes inside the tomb, while others burned the dead and even burial utensils and burial goods inside the tomb chamber. Nowadays, such a form has been used in a more sanitary way in funeral parlors (Gao\Song 2018:1-2).

3. Sky Burial

In Tibetan residential areas, sky burial is the mainstream funeral custom. It is believed that people have afterlife and the soul is immortal, and that the human shell left behind after death means that it is only a skin and worthless. It is better to "give" this shell to hungry vultures to save other lives of other creatures that will be eaten by the vultures (Yang 2015:4). In the Tibetan language, celestial burial is called "Bird-giving"(Shiniao). It is a burial custom full of magical colors and allure, and it is also a unique burial custom on the Qinghai-Tibet Plateau. It is mainly influenced by the doctrines of Tibetan Buddhism such as "the six ways of reincarnation" and "karma", and especially directly influenced by the concepts of "mercy", "alms" and "reincarnation" in Tibetan Buddhism, such as giving up the life to feed tigers, cutting flesh to feed eagles and so on (Zhang 2017:1).

4. Water Burial

The water burial ceremony of the Tibetan nationality can be divided into two categories: the water burial of whole bodies and the water burial of separated bodies. And the containers carrying dead bodies can be roughly divided into bamboo rafts, wooden coffins, wooden boxes, bamboo baskets and sink stones. The ritual process of the whole body burial is basically that the relatives of the deceased wrap the body in cloth and then put the wrapped body into a container. Bamboo baskets are more commonly used as the container. People wrap ropes or wooden strips around the basket or insert them into the basket and then carry the container to a fixed place for water burial. At the riverside, monks would chant sutras for the dead. When the sutras were finished, families will begin to dispose of the dead body. During the process, they will remove the white cloth that they have wrapped before, and then remove the ropes or wooden strips along with it, and tie large stones to the body so that it can sink under the water and never floats up (Li 2015:1).

Terms

Paleolithic Age 旧石器时代

Neolithic Age 新石器时代

Beijing Zhoukoudian cavemen sites 周口店北京人遗址

Die in one’s bed 寿终正寝

The Rites of Zhou 周礼

The Book of Rites 礼记

Immortality of the soul 灵魂不灭

Maishui 买水

Being buried to rest 入土为安

Burial in Earth 土葬

Cremation 火葬

Sky Burial \ Celestial burial 天葬

Water Burial 水葬

Bird-giving 施鸟

Water burial of whole bodies 整尸水葬

Water burial of separated bodies 分尸水葬

Questions

1.When did the earliest funeral rites originate?

2.What made detailed stipulations on funeral rites?

3.What are the reasons that funeral culture gradually simplified after the founding of New China?

4.What is the first step of traditional funeral process?

5.What is the last step of traditional funeral process?

6.Could you list some typical styles of traditional Chinese funeral?

7.In Tibetan language, what is celestial burial called as？

8.Which religions influences Chinese funeral most profoundly?

Answers

1.The earliest funeral rites in China originated in the late Paleolithic Age.

2.The Rites of Zhou, The Book of Rites and other books.

3.First, the original class order was broken; Second, funeral procedures were greatly simplified; Third, the concept of immortality of the soul gradually disappeared, and the ritual of worshipping ghosts and gods was also greatly simplified.

4.A public announcement of death with weeping and other sad expressions.

5.Buried.

6.Burial in Earth, Cremation, Sky Burial and Water Burial.

7."Bird-giving"(Shiniao).

8.Buddhism.

References

[1] Chen Peng, Fan Shaoxing. 陈鹏,范劭兴. (2013). 中国传统丧葬礼仪的功能变迁 [Function Changes of Chinese Traditional Funeral Rites]. 劳动保障世界 (理论版). [World of Labor Security (Theory Edition)]. (07) 171-172；

[2] Chen Shujun, Chen Huawen 陈淑君, 陈华文. (2008) 民间丧葬习俗 [Folk Funeral Customs]；

[3] Ding Shiliang, Zhao Fang 丁世良，赵放. (1989). 《中国地方志民俗资料汇编·东北卷》 [Compilation of Chinese Local Chorography and Folklore Data. Northeast Volume];

[4] Deng Zhuoming, Deng Li 邓卓明, 邓力. (1992). 中国葬俗 [The Chinese Funeral Customs]；

[5] Gao Xiangping, Song Xueming 郜向平, 宋雪明. (2018). 商文化中的火葬与焚烧墓室现象  [Cremation and Burning of Grave Chamber in Shang Culture]. 江汉考古[Jianghan Archaeology]. (05):113-117;

[6] Hua Chen 华琛. (2003). 中国丧葬仪式的结构——基本形态、仪式次序、动作的首要性. [The Structure of Chinese Funeral Ritual--Basic Form, Ceremonial Order and Primacy of Action]. 历史人类学学刊 [Journal of Historical Anthropology] (02) 98-114；

[7] Jin Fenglin 靳凤林. (1996). 死亡与中国的丧葬文化 [Death and Funeral Culture in China]. 北方论坛 [The Northern Forum] 05 (139) 22-27 ;

[8] Meng Xuehua 孟学华. (2020). 贵州毛南族丧葬仪式及其文化内涵 [Funeral Ritual and Cultural Connotation of Maonan Ethnic Group in Guizhou]. 黔南民族师范学院学报. [Journal of Qiannan Normal College for Nationalities]. (06) 29-35;

[9] Li Maojia 李毛加. (2015). 浅谈藏族水葬仪式 [On Water Burial Ceremony of Tibetan Nationality]. 商 [Shang]. (52) 119.

[10] Watson, J. L. (1982). Of Flesh and Bones: The Management of Death Pollution in Cantonese Society. Journal of Guangxi University for Nationalities(Philosoph). (06) 161-162；

[11] Wang Zhijun 王治军. (2019). 中国特色的悲伤抚慰——传统丧葬礼俗视角[Sorrow Comfort with Chinese Characteristics--Perspective of Traditional Funeral Ritual]. 中国医学人文[Chinese Medical Humanities]. 5(11) 13-17;

[12] Yang Kuan 杨宽. (1985). 中国古代陵寝制度历史研究 [Study on the History of Chinese Ancient Mausoleum System];

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