Cult Ov 2 Fin Exam 2024

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Please write here a textbook chapter about a Chinese cultural phenomenon until June 15 and start writing now, with unlimited revisions possible until June 15. When you find your topic listed here it means it has been approved by the teacher. It can be either in traditional culture or today. It cannot be a topic already published in the textbook.

Please do not forget to put it into context and relation in the beginning, e.g. where it emerged and how it spread, if it is unique to Chinese or Asian cultures, if it is well-known or exotic, when it occured and how it developed throughout history.

Please write 1000 English words, and on top of it write Terms and Expressions, Questions, References. The References should contain also paper books or papers and also at least one Western source. You also need to provide a Chinese version of the text and questions.

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

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. 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.[1] 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。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。[1] 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.[2] 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. [3] 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. 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.[4]

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。[2] 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。[3]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。 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。

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

[1]李琳. 环洞庭湖民歌中的民俗及其文化内涵[J]. 湖南农业大学学报(社会科学版),2008,(05):50-53.

[2]王晓淮. 关于当代原生态民歌发展及意义的思考[J]. 歌海,2009,(04):24-25.

[3]陈辉. 渔俗文化的历史记忆——浙东渔歌的功能与价值[J]. 浙江艺术职业学院学报,2023,21(04):70-76.

[4]金成辉. 民俗艺术资源的价值要素探析[J]. 艺术探索,2009,23(05):90-91.

Yang Zixuan | Chinese Science Fiction:The three body problem

Chinese science fiction: The three body problem

Brief introduction

The Body Problem is a series of long science fiction novels written by Liu Cixin, consisting of the Body Problem, the Body Problem II - The Dark Forest, and the 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 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.

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

The success of the 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 the 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 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 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 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 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 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 Body Problem", there is a huge gap between the scientific and technological levels of human civilization and that of the the Body Problem. The the Body Problem send 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 the 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 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 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 character

There are also uniquely Chinese protagonists in The the 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.

And 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.

Bibliography

[1]LI Jianfu,GAO Xuying. Analyzing the Realism Thought and Chinese Narrative in Liu Cixin's the 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 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 the Body Problem[J]. Digital Publishing Research,2024,3(01):104-112.

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)）

Luo Shuzhen |

The Evolution of the Official Selection System

Pei Xinxian |

=Hu Yujie |=Cuisine：Hunan cuisine, one of the eight major cuisines

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.

Main Part

The history

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.

Representative Works

"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.

Cultural Significance and Value

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.

(1) Historical 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.

(2) Artistic value

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.

(3) Folklore value

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.

(4) Humanistic value

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.

Inheritance and Innovation

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

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.

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. The poet has become Qu Yuan's primary label throughout the ages. 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. 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. 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。但他像战士一样，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高洁峻美的人格。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。诗人成为屈原横贯古今的首要标签。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。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。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

Terms and Expressions

1.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.

2.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.

3.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.

4.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. (2) Famille-rose porcelain, also known as soft-colored porcelain, is a porcelain with famille rose as the main decorative technique. Influenced by the production process of enameled porcelain, it is a new variety created in the late Kangxi period of the Qing Dynasty on the basis of five-color porcelain. Yongzheng emperor had a special love for Famille-rose porcelain, so the craftsmen at that time are very particular about its shape, color and line production, thus achieving the brilliance of “Yongzheng famille-rose porcelain”. (3) Color-glazed porcelain, known as “Manmade Gems”, is divided into different types, such as blue, crimson, black and green. Each color is further subdivided into specific types. Color-glazed porcelain originated from the yellow glaze of Shang Dynasty pottery. At the end of Han and early Jin, the creation of blue glaze porcelain. The Tang Dynasty created Tang SanCai with yellow, white and green as the main colors. The Song Dynasty and the emergence of celestial blue glaze, pink and blue glaze, etc.. By the Ming Dynasty, there were carmine red, beauty drunken and other Color-glazed porcelain. (4) Known as “porcelain inlaid with glass”, Linglong porcelain was developed during the Xuande reign of the Ming Dynasty. It is renowned both at home and abroad for its exquisitely carved patterns and glittering, translucent appeal. Characterized by perforated decoration, it was combined with the blue-white technique during the Qing Dynasty to create Blue-white linglong porcelain. The dark-green transparent linglong designs and emerald-green blue-white patterns served as a foil to each other, creating a unique sense of beauty. Linglong wares were generally limited to small objects, such as cups, brush pots and covered jars.

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.

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

Nixi pottery, a centuries-old craft, originates from the Tibetan town of Nixi in the Shangri-La region of Yunnan Province, China. Renowned for its distinctive black hue and intricate designs, this traditional pottery reflects the rich cultural heritage and artistic finesse of the Tibetan people. Crafted primarily from locally sourced clay, Nixi pottery is celebrated for its durability and unique aesthetic, often featuring motifs inspired by Tibetan spirituality and daily life. This artisanal practice, passed down through generations, not only serves practical purposes but also holds significant cultural and symbolic value, embodying the harmonious relationship between the Tibetan community and their natural surroundings.

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.

Main Part

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.